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When there’s a hiccup, she’s there to see it through. She’s involved in every part of the production process she often puts the finishing touches on her garments before they’re shipped. I want, I really want it to be worth that.” “I don’t want it to cost X amount just because it can. So, I want it to be worth that,” she says. “Whenever I start to make something, I do think about the cost and how hard people have to work and how much this thing is going to cost. She works almost exclusively with micro-businesses (i.e., companies with 10 or fewer employees) in Los Angeles, and she’s conscious of the amount of work that goes into each garment. Soto likes to shout out all the hands that touched each piece. Then she’ll hand it off to her sewer and then her cutter, and the transfers continue until, eventually, the clothes reach the wearer. Her process begins with something tangible, the fabric, and then she manipulates it, before creating a pattern from what she’s done. Soto sees making clothes as an energy exchange. “While growing up, a creative career was never presented to me as an option, and it is through clothes that I discovered that I was a creative person,” Soto says. Soto completed a fashion design program at Los Angeles Trade Technical College - at the behest of an ex-girlfriend’s mother - and eventually found her way into clothes making.
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There, her tía Luisa Marquez taught her how to use a home sewing machine. During the summers, Soto would take the train from Los Angeles to Tijuana where much of her extended family lived. Soto spent her formative years in Highland Park, and when she was a teenager she and her mom moved to Rowland Heights. And I’ve been wanting to maintain that feeling into adulthood, into old age.”
I remember just feeling like it was beyond special,” Soto says. Then she would make me a small garment at the end of the cuttings. The first time Soto realized that a garment could represent something beyond the thread it’s made from, she was in preschool and living in a garage with her mom, on a diet of tacos and mom-made outfits. Género Neutral is a space that says ‘I see you’ Tommy Bogo is the future of functional fashion Mom n Dad do know a little somethin’ somethin’ about vintageĬome Tees’ Sonya Sombreuil is moving at her own speedīriana King is posing how she wants to pose “Let’s say there’s a certain detail that I really like - I want to push that further and explore it a little.” “Sometimes a previous collection will inspire the next collection,” she says. Other times, she’s interested in seeing how far an idea can go. Soto is the type of artist who thrives on establishing parameters and figuring out how to work within them. She’s partial to self-imposed limitations, like strategically placing a rectangle in an otherwise ordinary pencil dress.
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“I had bags full of scraps - tiny, 6-inch in length and very narrow pleated scraps from a previous collection - but I didn’t want to toss them because they’re, they’re of value to me,” she tells me. Her preferred mode of creativity is stretching new fabrics to their artistic limits and finding alternative uses for existing materials, such as a pile of cut fabric or an old pattern. Soto’s signature style is defined by these leftover textile materials and other reclaimed trimmings she encounters. On this particular visit, Soto, 45, says, she was looking through deadstock - fabric sold by jobbers, industry workers who buy and resell left-over textiles usually in limited quantities.
Inside, there are reams upon reams of linen, cotton, knit, and woven fabrics.
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Outside, it’s all Pro Clubs and foot traffic.
In L.A., the country’s fashion manufacturing capital, there’s a place you go if you’re looking for the right fabric: DTLA’s Fashion District. The kind you might feel like you’ve seen before on Etsy, but one that up close has a more unique feel and texture. She’s telling me about a recent trip she spent running around in search of a bright orange ditsy print. Nancy Stella Soto doesn’t seem to sweat the organized chaos in front of her. luminaries redefining the narrative possibilities of fashion. This story is part of Image issue 13, “Image Makers,” a celebration of the L.A.
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