Details Magazine’s Style Editor Micah Johnson talks to Tim Hamilton about his first runway show in Paris, his CFDA win, and what men really want to wear today in this exclusive one-on-one interview

It’s a testament to Tim Hamilton’s talent that the signature pieces from his first collections: the chunky cashmere sweaters, the perfectly rumpled button-front shirts, the zip-up hooded sweatshirts, and the raw denim in a variety of colors, were all immediately knocked off. Since launching his eponymous collection in Fall 2006, Tim Hamilton has mastered both rugged and polished styles, has moved easily between American and European influenced collections, and has managed to create inspired yet wearable clothing for men. His refined yet energized interpretations of classic tailoring and sportswear and an adventurous design approach to color and fabric have arguably made Hamilton the most exciting menswear to come out of New York in the last five years.

“I feel if you really believe in doing something on your own, you have to be true to your vision and it should come from an honest place”

But Hamilton isn’t stopping there. In just the past six months, the Iowa born designer of Lebanese and American/English descent has launched a women’s line, staged his first men’s fashion show, and was recognized by the Council of Fashion Designers of America (CFDA).

Micah Johnson: Congratulations on your recent win of the CFDA’s Swarovski Award for menswear—honoring emerging talent! Do you think this award meant more to you this year than it would have if you had won it the first year you were nominated?

Tim Hamilton: Thank you, yes! It means I really feel like I have worked my ass off for it.
 
How did it feel to be honored by your peers?
Surprised with joy.
 
In an era where the American fashion industry has been over-run with D-list celebrities, Project-Runway-rejects, and trust fund babies, all starting their own clothing labels, I find it refreshing when a designer actually has real-world design experience before starting their own line. It seems to have paid off for you.
That’s sweet of you to say. Yes, it really brings a different creative drive when you have to start from scratch and when you come from nothing. I hope it helps sustain my line’s longevity.

What are some things you learned while working for companies like Ralph Lauren and J. Crew, that has helped make your business a success?
I’d say I know how to balance out a collection from working in those corporate places. I also feel if you really believe in doing something on your own, you have to be true to your vision and it should come from an honest place which sometimes is opposite of those places I have worked.
 
June was a big month for you. along with the CFDA award, you also had your first runway show. You showed Spring ‘10 in Paris, as opposed to presenting (a non-runway show) in New York. How was doing a show different? And why Paris?
Yes, it just gets busier for me. I wanted to show in Paris for a few reasons, my production calendar is Europe-based, which led for me to show in June. A lot of the buyers come in and see my line, but do not know how it should be put together until after the fact. Going from presentation to runway, I knew would be a challenge. Runway only lasts minutes and comes off as quick and cold, whereas presentations are more intimate and almost like a cocktail event. I loved the show but I was sad it only lasted 19 minutes.

For Fall ‘09, you also just launched your women’s line. Why now? And how do you approach designing women’s clothing differently than you do men’s?
I felt it was time for me. I knew a women’s line would always be part of what I would do, and it felt natural to start now. It’s a completely different approach than men’s—from fabric movement, function, and fit. Women’s design is less restricted. I really have fun with women’s. I’m excited for Spring-Summer ‘10, it’s a little more freakish and minimal at the same time.

To me, your Fall ‘09 collection had a whiff of “greatest hits,” with your beautiful long-hair shearling coats, chunky graphic knits, and the bright blues and reds. This was a theme that we had seen in Europe at Burberry, Prada, and Dolce & Gabbana—a “return to heritage.” Was this an intentional “greatest hits” or was fall an evolution like any other season?
Not really. I haven’t been around that long, but I do want to keep some familiarity within each collection.
 
Are you most inspired by film, music, or works of art? Of these, were there specific inspirations for your fall execution?
It depends. All of the above do inspire [me], but also fabric and playing with proportions is inspiring too. For Autumn-Winter, I really liked the idea of the Wiener Werkstätte (Vienna Workshop) where all visual artists came together to create there own movement.
 
What do men want to wear today? Do you make sure to include these items in each collection?
I think there are too many types [of men] to think about what they want. I think men still want clothing with ease and longevity and now, newness. I know the customer I have likes options to dress in a new way, without letting go of those evergreen, classic pieces—like new fabrications for button-downs, a new cut on a trouser, or a new tailored jacket that’s not too business-like.
 
Which items in your closet do you find yourself reaching for again and again?
White V-necks, a chambray shirt, my black boots, and simple trousers in dark navy or black.