Stacia Lang

Born into a musical family in the heart of the Midwest, Stacia Lang dreamed of designing costumes for her childhood idol, Dolly Parton. Not only did that dream come true, but Stacia has designed costumes for several other musical icons, including Angélique Kidjo, Billy Idol, and the legendary Prince.

Ms. Lang left her Minnesota hometown to study at the New York City Fashion Institute of Technology (FIT) in 1982. After graduating from FIT with a degree in Fashion Design Stacia acted quickly on a chance opportunity to learn about costume construction in the fabled workroom at the NYC Ballet. This treasured experience led to an eight-year run honing her craft in all of the major costume shops serving the Broadway and dance communities. For Stacia, Barbara Matera, Ltd. (La Cage Aux Folles, Singin' in the Rain), Parsons-Meares (The Joffrey Ballet Company's Romeo and Juliet and Cats), and Martin Izquierdo Studio (Into the Woods and Legs Diamond) are the most memorable.

Stacia Lang moved into the mythical realm of rock music in the early 1990s when she returned to her home state of Minnesota to design costumes and personal clothing for Prince, his band, and several of his protegés during the Diamonds and Pearls and Love Symbol Album eras.

Making the move to Hollywood in 1997, Stacia embarked on her long career in film. The films Interstellar, Star Trek, The Amazing Spider-man, The Cell, Shang Chi and the Legend of the Ten Rings, and Thor: Ragnarock all bear her creative mark in the specialized area of the cinesuit—spacesuits, superhero suits, and sci-fi suits. Other films of note are Tron: Legacy (Jeff Bridges' costumes), Man of Steel, and Burlesque. A comprehensive list of her films can be found on Stacia's IMDB page. Stacia also continued her costume design work during this period, most notably with Dolly Parton.

Maintaining an aviary in her studio and inspired by the beauty of birds, Stacia also applies her knowledge of costume crafts and couture sewing techniques to creating custom feather pieces and exquisite sculptures. Melding her creativity and skills with the mystical beauty of birds is Stacia’s intent in creating the Stacia Lang Feather Studio. The rich exoticism inherent in not only the physical features of birds but also their private worlds and the lore we have created to understand those worlds, are intermingled in this space to create a fanciful Ornamental Jungle.

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Michael Philpot

I was born and raised an only child in Detroit  Michigan by a single Mother in the late 1900s. As far back as I can remember, I've always sketched. Around the age of 13, I decided to try my hand at making a buttonless shirt. It took about two weeks to complete. I then had to get the courage to wear it. My fear was that it would look "Mammy made" and not store-bought. I finally wore it to school and was asked where I had bought it. I had arrived.

In the eleventh grade, I received a full scholarship to Parsons School of Design, NYC. After graduating with a BFA, I became an assistant designer and later Head Designer at menswear company A. Sulka & Co.

Moving to Los Angeles, I became a one-third owner of the start-up Ready to Wear women's line. One of the partners had a nervous breakdown and the company closed.

A friend wanted to form a partnership and open a store. We did. With one assistant, I designed and made all of the garments for the “Bon Ton Clothing  Company.” Our client list included such entertainers as Donna Summers, Minnie Ripperton, Barbara Bain, and Connie Stephens.

Four years later, I ventured back into the wholesale industry under the label  Studio234. My wife and I produced the line in-house. Ultimately we hired a staff of thirteen. Although my line was carried in Macys, Dillards, and Nordstroms, the bulk of my business was with "Mom and Pop" stores scattered across the country. Things were thriving until the recession.

Doubting that I was in the right field, I became a part-time waiter in a private members club where my clothes attracted attention. One thing led to another until I received a call from a member who was looking for a designer. I was back in the fashion business for a year. Then the owner’s wife was diagnosed with cancer and he decided to close the company.

Before I could plunge into a full-on pity party, I started hearing from fashion companies that wanted me to create their samples. The orders flooded in and I and my staff were back to full capacity.

One month, during a heavy work period, one of my staff members became ill, another slipped and fell in a grocery store, another found his dream job and quit, and finally, the son of a staff member was shot and killed at a bus stop. Selfishly, I wanted to be angry. Instead, I gave up sleeping and filled in the work gap personally.

Then, new neighbors asked me about the jeans I was wearing, which I had made. That same week they asked if I’d help with a project. It turned out to be Spiderman III.

After Spiderman III came Night at the Museum II, Tekken, the Superhero  Movie, and The Spirit, plus tv shows, world tours, and commercials.

We had been a couple of months working on Spiderman IV when it was dropped. No notice...nothing. Then came the writers’ strike, plus I found myself typecast as a special effects costumer. For six months I couldn't give myself away.

Deciding to compile a portfolio of costumes outside the Superhero genre, I became Costume Designer for a student film at Chapman/Dodge college. Over the next two years, I was passed around like a two-dollar whore and worked on two dozen student films.

Other films started to come my way. Then music videos. I met influencer and singer Trisha Paytas, for whom I continue to create costumes on a regular basis. Then I was introduced to director Stephen Mills whose studio, oddly enough, was in the same building as mine, and only four doors apart....

The journey isn't over...there are many more adventures to come!

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