Rebecca Moses is an internationally known fashion designer and illustrator. Her whimsical illustrations and portraiture of women have graced the pages of publications like Vogue Italia, Vogue Nippon, and Italian Marie Claire. The designer succeeded Gianni Versace at the Italian label Genny in Milan in the 1990s and she was one of the first American designers to enter the European market. Throughout her career she has collaborated with global brands like Alcantara, Fratelli Rossetti, Furla, Kartell, Nest Fragrance, and Vera Wang.
During the midst of the pandemic, Mount Sinai’s 11-story Guggenheim Pavilion on Fifth Avenue in Manhattan was decorated with large-scale portraits of 46 of the hospital’s nurses, painted by Moses, for the exhibit titled “Thank You, Mount Sinai Nurses.”
On the East End she has a deep family history. Her grandmother was born in East Quogue and her mother born in Riverhead. And her father was stationed in Westhampton in the military.
We caught up with Moses to learn more.
You succeeded Gianni Versace as the designer at the Italian label Genny in the early ’90s and you also developed your first collection at age 21. Tell us about how you got your start as a fashion designer and what were some of the defining moments in your career:
I started designing at the young age of 18 after graduating from FIT. My first job was at Gallant International in 1978, which held the license for Pierre Cardin Coats and Suits. My first assignment was to attend the Paris Haute Couture. It was a privilege to meet Mr. Cardin, a true visionary and a kind man.
In 1981 I started my own brand: a luxurious collection of separates. It was a crazy idea, but when you are young you are crazy and don’t think about failure. I remember Michael Kors had just started his own collection and we would share fabric appointments so that we could meet the fabric minimums! Those were wild times.
I remember the legendary Eleanor Lambert came to interview me. She was brave. She was the most powerful journalist in American fashion. My little space was in a friend’s warehouse off of 8th Avenue. In those days if you crossed 7th Avenue, you took your life into your hands. She came up to my space all alone, passed two gated doors, and came to see what I was creating. As we sat and spoke at my tiny white lacquered table, a gigantic cockroach scurried right across it and my heart sunk as I tried to subtly take a tissue and slam the beast without her noticing. She said without blinking, “Darling, I get them even in my Park Avenue apartment!” Her syndicated article then ran across the US — the first big break. It was like a scene from La bohème.
After years of creating and working my butt off, and dealing with everything they don’t teach you in fashion university — from unions to crooked partners and a million other issues that make the fashion business a very illogical, crazy industry — I decided to move to Italy after falling in love with a wonderful man named Giacomo Festa Bianchet.
One year after I arrived, my dear friend and legendary retailer, Joyce Ma introduce me to the owner of Gruppo Genny, Donatella Girombelli. Girombelli wanted to change the direction of Genny and understood my vision. We agreed to sign a five-year contract replacing legendary Gianni Versace.
Three years into my contract, I started my own brand again. My goal was to reapproach the concept of cashmere; I wanted it to embrace colors and femininity. We opened the first collection in 1997 selling in 15 countries in addition to shop boutiques in Bergdorf Goodman, Harvey Nichols, and other top luxury stores around the world.
You were one of the first American fashion designers to enter the European market in the ’90s. Tell us a little about that experience:
It was an epic time to be an American in Europe in the ’90s. Tom Ford had just become Creative Director at Gucci, replacing Richard Lamberston; Michael Kors was at Celine; Marc Jacobs was at Iceberg, soon to go to Louis Vuitton; and Richard Tyler was at Byblos. We became known as the American Mob (WWD). Globalization had taken over the world and it would soon change the face of fashion. To say that it was exciting is an understatement, it was the best twenty years of my designing time. Learning and living in Europe taught me everything about design, construction, quality, culture, history, and pride in craftsmanship — all that you could only be privileged to learn. I felt grateful to my adopted country and Italy is deep in my heart for a million reasons beyond this.
You create whimsical illustrations and portraiture of women that have been featured in Vogue Italia, Vogue Nippon, and Italian Marie Claire, among others. How did you get your start as an illustrator?
I have always illustrated; it has been my way to create and tell a story. Some designers need to take a piece of fabric and drape, but my most comfortable voice to create with is a pen or paintbrush. I used to create sets for my installations when I would show my collections. I would create crazy invitations — yes, real paper invites!
In 2010, my life took a severe turn with the loss of my husband to cancer. I was beside myself. Our sons Max and Ben were so young, at only nine and 12 years old. I was unsure of what to do, but I knew I had to be there with and for my children. I was about to go to press on my first book “A Life of Style” (Monacelli Press 2010).
I met with my late friend Editor and Chief of Italian Vogue, Franca Sozzani, who encouraged me to take the boys to New York to explore my work and change the air in all of our lives. She suggested that I illustrate stories with Vogue, and that is exactly what I did. The first project was to create Vogue Tarot, which was around the same time that the .com of Italian Vogue was launching. From there, my life as a storyteller began.
Tell us a little about your method and what inspires your art and designs:
My art is about women, style, and celebrating this uniqueness of being. I work on all mediums from paper and canvas to fabric and hard surfaces. I have no limits and I am — and will — always be a fashion and lifestyle designer, but my art is in capturing the moment, a look, an emotion, humor, reflection, the quirkiness, a vulnerability, an environment, and how this all connects to people.
Talk a little about your book “A Life of Style” and how that project came about?
I wanted to share with people what style was and why it is not silly but a very important and intrinsic part of who we are. My agent at the time, Jill Cohen, suggested I illustrate it, which is exactly what I did. I did not want to teach or pontificate; rather, I wanted to inspire and give positive inspiration to readers. To sum it up, style is our voice and how we tell the world who we are, how we live, and how we celebrate life.
You’ve collaborated with global brands like Alcantara, Fratelli Rossetti, Furla, Kartell, Nest Fragrance, and Vera Wang. Talk a little about some of your current collaborations:
When I am called in to collab or consult, it can have a great range. It can be to create a story that helps animate a brands’ service or products; to create a strategy or new opportunity; it can be to walk around a problem and see it from another perspective; sometimes to create a new product and to create a special series; it can be to solve an image or perception problem, a challenged product, or to enhance a good idea into a great idea.
During the pandemic you painted large-scale portraits of 46 of the Mount Sinai Hospital’s nurses that were displayed in the 11-story Guggenheim Pavilion. How did this project come about?
The original paintings were 9×12, but we blew them up because of the Guggenheim Pavilion. The nurses came via the Stay Home Sisters Community that I started during the COVID-19 pandemic. I reached out to women on Instagram and asked if they would share what they were going through for a portrait of them. One day a woman named Ann Valentine reached out about her sister, Linda Valentino, who worked in nursing at Mount Sinai. After I honored her, Linda asked if I would work on a project to honor nurses. I accepted it with pleasure and have endowed the 46 portraits.
You’re represented by TAG Collective and plan to expand your overall presence not only in fashion and publishing but also in hospitality, spirits, automotive, and other luxury industries. Can you tell us a little about your plans?
I want to take my design, storytelling, and art to industries that need a more dynamic, animated, humane, humorous, empowering, positive, sexier, and glamourous image. I know that seems like a lot, but you have to lift human emotions to motivate consumers and give hope and desire to participate in their dreams, whether it is a hotel, food, alcohol, medicine, car rentals, education, or games. Let’s face it — does it matter whether it’s Viagra, Tequila, or a new hotel? Each of these products needs to be sold and tell a story to consumers. I think bringing “style” to these worlds will introduce a new energy and desire. Remember what Charles Revson said: “I make creams but I sell dreams.”
What is your connection to the East End?
The Hamptons is very deep in my family history. My grandmother was born in East Quogue in 1900 and my mother was born in Riverhead. My father was also stationed in Westhampton in the military, which is how he met my mom! Undoubtedly, the Hamptons hold a very special place in my heart and have inspired me in many ways.
