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The Magic Of Creatures Of The Wind
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The Magic Of Creatures Of The Wind

Picture of Austin Seidel
Updated: 12 December 2015
Two graduates of The School of the Art Institute of Chicago, Shane Gabier and Christopher Peters, collaborated their eye for detail and love for fashion and design to create one of the most raved about up-and-coming brands of the modern day. Creatures of the Wind has been featured in countless fashion editorials including Vogue, Vogue UK, Vogue China, Vogue Japan, Vogue Italia, Vogue India, New York Times, Elle, Harper’s Bazaar, and so much more.
Christy Turlington, Vogue August 2006 | ©  fervent-adepte-de-la-mode/Flickr
Christy Turlington, Vogue August 2006 | © fervent-adepte-de-la-mode/Flickr

As graduates of The School of the Art Institute of Chicago, Shane Gabier and Christopher Peters set out to create a concept driven by ‘subcultures, mythological themes, and youth culture.’ Creatures of the Wind embodies these concepts and simultaneously pushes their boundaries.

Christina Kruse, Shalom Harlow, Ling Tan & Debra Shaw in Christian Dior Haute Couture by John Galliano photographed by Peter Lindbergh for "Vogue" - April, 1997 | ©  Ŧhe ₵oincidental Ðandy/Flickr
Christina Kruse, Shalom Harlow, Ling Tan & Debra Shaw in Christian Dior Haute Couture by John Galliano photographed by Peter Lindbergh for “Vogue” – April, 1997 | © Ŧhe ₵oincidental Ðandy/Flickr

After graduating, Gabier packed and moved to Antwerp, Belgium, where he worked under Dirk Schonberger. Peters’ next two years were spent as an assistant to artist/designer Nick Cave. Both Gabier and Peters, however, were eventually led back to Chicago, where Creatures of the Wind began.

From its inception, Creatures of the Wind has remained true to their original narrative, gaining international acclaim from Vogue Italia, Elle China, and New York Times. In 2013, Creatures of the Wind partnered with The Dock Group, a fashion investment firm based in Los Angeles, which resulted in the pair opening their first design studio in New York City. Even from their Fall 2011 Read-to-Wear—Peters and Gabier’s first collection at New York Fashion Week—Creatures of the Wind manages to combine whimsical with serious, old with new.

Daria Werbowy, Vogue Japan | ©  fervent-adepte-de-la-mode/Flickr
Daria Werbowy, Vogue Japan | © fervent-adepte-de-la-mode/Flickr

Their SS16 collection is no different, pushing the edges of spring-wear. Rather than featuring designs full of bright, light colors that invoke stereotypical images of springtime, Gabier and Peters crafted a moodier, darker—and sexier—season. Featuring black fishnets and deep blue florals, Creatures of the Wind draws from 1940s biker culture and glam-rock—along with dense patterns and thick heels popularized in the ’70s. They also drew on fashion trends from the ’20s by presenting a strappy sack dress as well as a black minidress with white sleeves inspired by the short cuts which were prevalent in the ’60s.

Harpers_Bazaar_Spain_2014-06_36_1 | ©  beautyleg2015/Flickr
Harpers_Bazaar_Spain_2014-06_36_1 | © beautyleg2015/Flickr

The brand’s main concepts are centered on intricate detailing and avant garde pairing of fabrics within the collections. Creatures of The Wind regularly collaborates with other unique artists and designers in the field, including Tabitha Simmons, Aline Cautis, Pamela Love, Selima Optique, Erickson Beamon, and Matteah Baim. The clothing line’s main production takes place in Manhattan’s Garment District, although shoes are derived from Italy and fabrics are mainly developed in Europe’s mills. Gabier and Peter’s sensational designs are retailed in boutiques and outlets across the world, from Saks Fifth Avenue, Isetan, D’NA, and JustOneEye to Beams International Gallery, Fortyfive 10, Shopbop, RTW Charleston, and Boontheshop.

Throughout the years, Creatures of the Wind retains its magic—with looks that feature army jackets embellished with silver flowers and brilliant red suits paired with baby blue floral. The young label still manages to excite and entertain—and to keep its audience anticipating what could be next.