You both have been collector's way before Byronesque, how has the internet and social media changed access? What was the process like before?

GL: Until recently and for the large part it still is a shit show. If you know what want you can spend a long time looking for it. We took the analogue experience of having a personal shopper find things for you and used technology to essentially give people a direct line to almost 100 buyers around the world. We’ve replaced ‘you never know what you might find’ with curated certainty. If you want it, we can find it.

JW: You filthy vintage minx.

We know where and how you source these pieces are incredibly secretive, but is there any fun/exciting stories you can tell us about the process? Something crazy you’ve done or place you’ve flown in order to score that one-of-a-kind collector piece?

GL: Well putting this collection was a trip in of itself. We personally went to London, Paris, Athens and of course NYC to hand select the best pieces, in a couple of days (that’s the crazy bit because I’m too old for this shit). We also have pieces from Hong Kong and Milan in the collection. A lot of this is about relationships, much more than the contemporary business. It’s very emotional for collectors who are buying or selling. It’s important they trust us and that’s why we have such incredible access to the greatest hits. There are no filler tracks in this collection and that’s because people want to be part of something more polarizing and provocative.


What’s the most outlandish thing a customer has done to get an item?

GL: Nothing beyond extreme persistence. If someone has already bought a piece they don’t understand how that could have happened and that we can magically get another one… to be honest, we always do.

There are super iconic pieces in the Byronesque assortment, like the Margiela White Leather Gloves Top (circa 2001) or the Nicolas Ghesquiere for Balenciaga cargo pants, pieces that became instant icons when they hit the runway. What about these pieces paved each one’s current status? Why do they continue to keep their relevancy throughout the years?

That’s a really easy question to answer. The ‘80s—mid ‘00s was the last time fashion was its most creative. While that’s starting to change, it’s essential to uphold the creative defiance of these important vintage designers and the culture they created, although they weren’t instant hits at the time. It’s only looking back that people realize how important the collections were. Fashion is so banal these days and beyond the nostalgia of people who lived it the first time around there’s a young generation of people who research this era and who are more excited about it than what’s happening today. You won’t give a shit about Zara or H&M in 15 years time.

JW: It won’t last that long anyway.


Is there a piece you’ve been on the hunt for and just can’t obtain? Are you thinking about it as we speak?

GL: The more complex dresses from Balenciaga SS 2002 by Nicolas Ghesquière. We get love-hate mail for it. Really hard to find. If anyone is reading this and has any. Please email ownit@byronesque.com.

What are some of your most favorite pieces the OC shop is selling and why are they so special? Is it hard to let them go?

GL: Never hard to let go. I hate that people think vintage is untouchable and has to be treated with kid gloves. I want people to dress better than they generally do so I’m very happy when people buy better.

back to top