Isabel Toledo has long been considered one of fashion’s true innovators. At once a cult classic and mainstream muse, Toledo is known as much for her esoteric approach to fashion (she once opened a shop tucked deep inside a Chelsea loft) as her architectural appreciation of the female form ("I'm not a fashion designer, I'm a seamstress,” she has insisted.)

Born in Cuba in 1961, Toledo began sewing at the age of eight. Since then, she fearlessly cut her own path in the realm of fashion and beyond, creating consistently praised (and always experimental) designs and famously marrying sculptor and illustrator, Ruben Toledo. In 1985 she launched her first ready-to-wear collection and in 2005 she received the Cooper-Hewitt National Design Award for Fashion Design.

Now, as the newly appointed Creative Director for Anne Klein, a house synonymous with mix-and-match sportswear, Toledo has once again defied convention and has put the fashion world on its toes. As she says, “I am thrilled to have the opportunity to help evolve the intelligent fashion philosophy that Anne Klein initiated and I look forward to designing a new generation of future classics.” Judging from the glowing reviews and standing ovation she received during her debut collection for the brand, the future is now.

Many people would consider Isabel Toledo and Anne Klein an odd couple. You’ve built a reputation for your eclectic and experimental work while Anne Klein is a brand known for practicality. Where did you see the compatibility between yourself and the American sportswear line?
Experimentation is the basis of creating a new design. It is essential in order to innovate, and the basis of American sportswear is innovation in practicality. What we take for granted today as a "classic" started out its life as an innovative breakthrough. It becomes a "classic" because of its practicality and usefulness in many female wardrobes and this is what I have in common with Anne Klein. She too was an experimental designer in her time with a love and appreciation for smart design.

Explain your concept of "couture haberdashery" for the Fall 2007 collection.
This is the term I use to define the overall aesthetic of the fall line. In essence, it is the combination of intricate and feminine details with a menswear vocabulary. Together these elements create a strong silhouette and a subtle yet powerful statement. 

Before your debut collection, the Anne Klein label hadn't held a runway show in many years. Were you nervous at all?
The presentation of a new collection is always a real joy for me and never makes me nervous because the show is a celebration and final collaboration between the clothes and the audience. It is the releasing of new ideas and I find this sharing very rewarding. 

One of your continuing inspirations is Madeleine Vionnet, who once said "There is something superficial and volatile about the seasonal and elusive whims of fashion which offends my sense of beauty." Do you think being creative director for a major fashion brand with its own reputation adds more risk of compromising your own sense of beauty?
For me, beauty is timeless and fashion is of the moment. These two opposite views are precisely what makes the fashion game so interesting to witness and to see it evolve.  As Creative Director for Anne Klein, it is my duty to reconcile both desires with every new collection.      

You and Ruben have become the stuff of legend – two endlessly intriguing creative forces that have elevated ideas of sculpture, art, fashion and where they merge..... How do you think working for another fashion house will affect that creative relationship?
The many ways that we inspire each other is constant and is not limited to artwork and design. We continue to feed off one another and create a synergy no matter what we are involved in and my work with Anne Klein has provided us with new inspirations, insights and perspectives.   

You are well known as your husband's muse. Who or what is your muse?
My muse is the world around me. I am inspired by the beauty of every day life and my surroundings. I am a very appreciative observer. 

Who are some of today's designers that you admire?
There are too many that I admire to name just one. What is beautiful to see among designers today is the incredible freedom of expression and diversity that is embraced from each one. I feel that fashion is a great collaboration as is all culture. We all contribute to it in our own way. I am totally spoiled because I work amongst friends – Narciso Rodriguez, Alber Elbaz, Francisco Costa and many others all help keep fashion alive and evolving. 

How do your Cuban roots reflect themselves in your work?
I was born into a very passionate, magical and rhythmic culture that served as great inspiration to me. I began sewing when I was eight years old after being taught by a very patient babysitter. Since I can remember I was looking for ways to express my creativity and translate it into something tangible. My culture taught me the beauty of the female form and the importance of clothing that flatters and enhances a woman’s shape and allows her to move freely.

This issue of Clear focuses on the "material world” – something your work brilliantly conveys. From the jellyfish blouse to the hermaphrodite dress, you have always had a very tactile, sensual approach to fashion that yet transcends physicality. Do you think there is some sort of spiritual or metaphysical component to what you do?
We fashion designers are clothing your mind as well as your bodies. For me, really fulfilling fashion addresses all of you, especially your spirit. This is what makes clothing that lasts the way art or architecture or music lasts. 

Will you continue your work with Toledo Studio?
Toledo Studio is not a brand or corporation. It is our creative home as long as Ruben and I are alive. There is no quitting allowed here. For us, what we do is like breathing and it is not very good to hold your breath!

Mar Yvette
Clear Magazine - Summer 2007