S.K. MANOR HILL FINDS BEAUTY IN ALMOST ANYTHING

Having been exposed to a plethora of different cultures, design languages and personal styles, Sondag’s multi-cultured education pulled him to New York City in 2012, when he worked at Daiki Suzuki’s Engineered Garments as a part of the Nepenthes brand’s production and design/development teams. Establishing his own brand in 2016, s.k. manor hill’s offering encapsulates a modern approach to clothing design, shirking the cyclical nature of the industry to deliver garments that reflect a more natural relationship with the clothes that we wear.

Finding beauty in small details, whether that be the natural world, a forgotten embellishment on a vintage garment or a conversation, Sondag’s work with s.k. manor hill seeks to transcend fastness and impulsivity, favouring a more grounded and personal approach to design rooted in his own experiences, and the variety of cultures he has come into contact with.

Delving into the world of s.k. manor hill, END. sit down with Dominic Sondag to discuss his unconventional creative processes and finding beauty in almost anything.

You founded s.k. manor hill in 2016 – what initially compelled you to create your own brand? Was clothing design something that had always interested you?

I founded s.k. manor hill in 2015; Spring/Summer 2016 was my inaugural collection.

I had spent the previous few years working at Engineered Garments, learning the fundamentals of the fashion trade.  EG only has one designer - owner/ founder Daiki Suzuki - so my opportunities to design were limited there.  The jobs that were available to me elsewhere in New York weren’t appealing to me because I wasn't a fan of the product. I felt the only real way to freely express my own vision would be to create my own brand. Doing that had been an unspoken goal of mine for some time.  

Clothing design always interested me but it wasn’t until my last semester of college when I had my epiphany moment – yes, this is what I’m destined to do. As a child, I was always very picky with what I wore. I started drawing/designing shoes and apparel as early as 12 years old but the idea of actually having a career in fashion design was some kind of unrealistic dream to me. 

Having satisfied my degree’s class credit requirements, my last semester of college were all elective classes. I studied abroad in Florence, Italy and enrolled in a Fashion Design program. I extended my stay and completed a second semester and earned certification. My time in Florence was enriching and I felt fulfilled in a way I’d never had before, particularly in a scholastic setting. That experience is what started me on my path of becoming a designer.

Having lived and worked in several different cities throughout the US and Europe, how has this variety of cultural influence impacted s.k. manor hill’s creative output?

The opportunity to live and experience different countries and cities broadened my horizons.  It exposed me to different cultures, arts, fashion and people.  It allowed me to expand and grow my appreciation of things outside of my original sphere of influence.  It created challenges and growth opportunities that I would otherwise have missed. 

This exposure gave me the ability to identify design themes and artistic values that are consistent among different lifestyles.  My work is all about embracing diversity, all cultures and walks of life. My individual creativity is energized and formed by my awareness and appreciation of beauty in various peoples, arts, and nature.

What was it about New York that seemed to be the right place for you to settle and start your brand back in 2016?

New York seemed to be the right place because of its standing as the US fashion capital, it had the capabilities for producing locally, and it’s where I learned the craft/trade. I moved to NY for the opportunity to work with Daiki at Engineered Garments because he is my favorite designer based in the United States.

Having worked with Daiki Suzuki at Engineered Garments, what was the most valuable thing that you learnt from that experience?

The most valuable thing I learned while working with Daiki at Engineered Garments was the attention to detail that underlies everything they do. Everything is consistently done in a very specific way and they simply don’t miss a beat.  Experiencing that type of work environment and the results achieved as a consequence made me want to emulate that approach.  That learning experience gave me the necessary tools, understanding and knowledge to be able to consider making a go of it on my own.

Blending inspirations from outdoor apparel, classic menswear and vintage military-wear, where does your creative process begin?

At the risk of sounding like Confucius, I wish I could identify a beginning as that would imply there is an end. The actual process is more of an ongoing, never ending one, incorporating constant and simultaneous activities and ideas which undergo transformation as a result of reactions they stimulate, as well as the occasional message I receive from the universe.

I’m always working on new designs and ideas. They are not created with a specific season or collection in mind; it’s more like I’m emptying my mind and collecting the output on paper. The draft work may never see the light of day or it may be featured in a future collection.  

I know that some people are very specific as to what they draw their inspiration from but I am receptive to finding the beauty in almost anything - the smallest detail in the most obscure item can be a source of  inspiration that will germinate naturally/organically and later be translated into a design.

How do you determine what collectively grounds a collection when there are a myriad of alternate influences?

My collections tend to be grounded and made cohesive by virtue of the chosen color palette and silhouettes.

Working for one of New York’s premier clothing factories, how does this insight into the production process inform your design work?

It allows me to foresee potential production obstacles and devise methods to avoid or overcome them.

With pieces from your latest collection emblazoned with “global mycelium network” and accessories emulating toadstools, mushrooms appear to be playing a pivotal role in the recent design language of the brand. What has specifically encouraged this line of creative direction?

No doubt that it is an offshoot of living through the pandemic, with the increased isolation that I experienced as a consequence. This led to some internal soul-searching and personal exploration that was encouraged by my exposure to “Fantastic Fungi”, a film by Louie Schwartzberg, and the thinking of Paul Stamets. I found the film to be very captivating and eye opening.