(Image Credit: Courtesy of Brian Jones)
First time i went Los angelsA few years ago for work, I had a day to find on my own. I planned to do just one thing for my whole day. It was not a hike to see the Hollywood sign or a trip to Erewhon for an overlapping smoothie, but to set foot in Arla vintage, an old shop that I became obsessed with online.
I became familiar with the store after seeing season two ExcitementEspecially the scene in which Maddy (Alexa Demi) reveals the mother’s walk-in closet for which the child is taking care of. It is filled with designer pieces iconic from Christian lacroex Valentino And Alexander Mcquin, all came from Aralda Vintage. I immediately followed the store on Instagram and originally harassed my online appearance to refreshed day by day to see the incredible archival search of the founder Brian Jones.
When I finally made my way out of the west, it was the only place I wanted to see. Feeling transformative while stepping into a small shop tucking away in beachwood canon. The store is painted in a dark orange color, such as the best bit of sunset before it is away. And the racks are full of items that I only dream of touching, like a suede Pada Corset from F/W99 Collection Kate Moss Wearing on the runway and Jennifer Aniston Later worn on cover W.,
Now, whenever I see really incredible and intense arithmetic forms on the red carpet, I have started assuming that this is Aralda vintage. Most of the time, this is. Jones’ shop has become a destination for famous celebrities that are looking to prove their fashion chops, and their selection can be described as fashion paradise as far as I have a relationship.
Below, I sat down to sit with the owner and curator of the vintage shop and sat down to discuss how she thinks what she thinks is the future of vintage fashion, and how she decides which pieces are enough for the shop.
How Arla Vintage started:
Brian Jones: Growing in Portland, Oregon, I always dreamed of opening a vintage shop downtown. This was my small pipe dream that really never left me. While my classmates were applying in colleges, I had expectations and dreams New york City to attend fashion school, but life took me in a different direction.
I went to Hawaii only after the age of 18 and worked in all types of jobs; Some of them in Ala Mona Mall in Vaiki, which is full of high -end shops Dyer, ChannelAnd Louis WuitonI worked at the Lankom counter in Massey, and during the lunch break I find myself wandering luxury stores – well motivated and taking notes. I still remember that walking in the dior boutique and watching the falling 2004 show playing on a huge flatscreen. This was my first real introduction to Galliano’s work and it blew my mind. This was still when Mark Jacobs was in Wuiton and Learfeld in the channel. Everything was very fun.
Around the same time, I was also working as “informal modeling” jobs for some brands. It was essentially moving around the store in the fabric, which I loved because I got to wear clothes and experience craftsmanship. On the holiday of my days, I used to spend what money I had on fashion magazines and then to make every thrift shop on the island visible in my own way. I suffered from the thrill of hunting. I will come home from my day to the day of thrifting and set my apartment as a small boutique and what it will be for my own store.
(Image Credit: Courtesy of Brian Jones)
(Image Credit: Courtesy of Brian Jones)
A few years later, I went to Los Angeles, signed with an agency, and shouted for retail (Fred Segal Santa Monica!) Working. Eventually I was doing full -time modeling, and although I was always grateful to work, it never found me natural. I loved working in fashion, but I wanted to be behind the screen.
A decade later, I decided that I am ready to leave modeling behind, so I started savings and slowly invested in vintage inventory pieces. I found a small office place at the world’s intersection in Hollywood and began to convert it into my first brick-apertor. During this process, I will ask my agency for advance check so that I can finish construction of the shop. My friends and I used to spend day by day, painting the walls and trying to make it something special. That era keeps some of my favorite memories.
Aralada started mostly with unbelled vintage, but the soul has always been the same; Fickle maximalism along with a lot of room for the minimum. Eventually I beat that first place and went out. There was a difference where I did not have a physical store location, so I took advantage of not paying the rent and began to invest more in individual designer pieces rather than just focusing on volume. With every step, I systematically developed the business. Over time, I found myself curating the kind of collection I always dreamed.
(Image Credit: Courtesy of Brian Jones)
How he fell in love with archival vintage fashion:
Bj: Ever since I was younger, I have loved Vintage. But my relationship with archival fashion actually began when I was around 18 or 19, when I started studying high fashion through magazines, fashion spots and Style.comYou and then finding ways to re -create with those pieces, I will get thrifting. I suffered from all this artistry, especially when I would get something with real history or craftsmanship. Over time, this love developed only by styling, which really understand it, research it, to collect it. That’s when I started seeing vintage not only as clothes, but as an art.
(Image Credit: Courtesy of Brian Jones)
Does Vintage make fashion so special:
Bj: Vintage is a tangible piece of fashion history – it is a different place and a physical time stamp from the era. This reflects the culture and spirit of the time that came from it. My favorite pieces are often the oldest, antiques that are more than 100 years old, are complicated and are still in beautiful positions. Many of those pieces never make it on the store rack because I cannot bring myself to let them go.
(Image Credit: Courtesy of Brian Jones)
Why does she wonder that recently there is such interest in archival vintage:
Bj: I think Kovid Lockdown provoked a big innings. People became more creative, more resourceful. The resale platforms exploded, and suddenly the vintage became more accessible and even aspirants. It is not only about stability or price (although they are huge bonuses); It is about personality and story.
(Image Credit: Courtesy of Brian Jones)
When she decides when a piece is particularly special for Aralda vintage:
Bj: This is a learning state. In the beginning, I sometimes think of things, Well, someone will like itNow, I must either love it personally or be able to portray a specific person who will buy it. I have learned that the more you are intentionally with your cuishan, the more your vision comes in life. I also rarely buy anything that is not in excellent position. I do not like to change or repair the vintage until it is necessary at all. It is important to preserve the integrity of the piece, especially for the collectors who come to us, some rare and untouched.
(Image Credit: Courtesy of Brian Jones)
How he started working with celebrity stylists and his customers for red carpet dressing:
Bj: The word of the mouth is very powerful, especially in the era of social media. Most of them have been systematically through friends who are stylists, or friends of friends. After staying in Los Angeles for almost two decades and working, I have seen all around and realized how many people have I really known – whether it is from working in fashion or about my younger years and about it. I also feel that something is a bit serious about the shop being tucking in beachwood canian. It is away from the beaten path, but is still central. A lot of customers live nearby and in reality we have stumbled on us.
(Image Credit: Courtesy of Brian Jones)
The celeb on the red carpet is visible from Arla Vintage that feels particularly special:
Bj: I have enjoyed style Alexa Demi a few times, and this is always such a pleasure. We really click creatively. One of my favorite looks was 1992 Alaia Skirt suit with louboutin pumps. She looked so chic and feminine and powerful. One more time she wore a 1970 Norman Norel gown that felt modern, vampires and completely. His presence always elevates the fabric.
But I get especially excited when pieces of Aralada are worn by someone who was distinguished in my youth. Liza Minanelli wore the most right leopard hat in the recent collapse issue Interview magazine. Was beyond being worn by him, which I could ever imagine.
I was very thrilled when Rebecca Ramsey styled Pamela Anderson for her Netflix Press Tour and gave a lot of looks from the shop. I was watching Pamela on TV, so it felt real. And when Guen Stephanie or Christina Aguilera wore our pieces, my inner twin is smiling with ear, bracese and everyone’s ear. His music was part of my formal years of soundtrack. The fun part of these celebrity placements is less about fame and these artists are more about memories. There are really some complete cycles that I grew up and praised myself about sharing myself with people. This is the magic of apathy, and Aralada lives in that place.
(Image Credit: Courtesy of Brian Jones)
On which archial collections or pieces he has the most excited he is the most excited:
Bj: Recently, I have started pulling pieces from my personal collection, the things I have kept for years and slowly bringing them to the shop. It can be a little bittersweet, but I think pieces carry energy, and I love someone else’s thoughts that they breathe new life.
What does she think that the future of vintage will be seen in 2025:
(Image Credit: Courtesy of Brian Jones)
Bj: I think the vintage will continue to be more mainstream, but in a good way. It is more accessible and more integrated how people shop, whether they are looking for high-end designer pieces or everyday staples. And I think the landscape will continue to expand into small niche markets with more education and praise for craftsmanship. There is increasing awareness around stability, personality and intentions, and the vintage sits at the intersection of the three.
