I have been a fan of Susan Juby’s books since I read her debut novel in 2004. After falling in love with Susan’s writing all over again in The Truth Commission, I was thrilled to hear The Fashion Committee would return to the world of Green Pastures. I’m happy to have Susan back for another interview about The Fashion Committee.
Miss Print (MP): What was the inspiration for The Fashion Committee? When did you know that you had more stories to tell about Green Pastures?
Susan Juby (SJ): There were three distinct inspirations for The Fashion Committee. One came from a story told to me by a woman who used to be a drug dealer. One night she was in a drug house and when she was looking for a bathroom she opened a door and found a preteen girl in a preternaturally tidy and nicely decorated bedroom. The girl was sitting at her desk, quietly doing her homework. The girl and her room were as orderly and calm as the rest of the house was disordered and dangerous. That image stuck with me and made me think about how some kids can transcend brutal home lives.
The second inspiration was my own history as a fashion college drop-out. I wanted to be a costume designer for film and TV, but lacked the discipline and single-minded focus that seemed to be required. (I lacked quite a few other things as well.) I was both alarmed and envious that some of the students didn’t think about anything except fashion.
The third inspiration was a This American Life story called Three Miles. https://www.thisamericanlife.org/radio-archives/episode/550/three-miles It’s about kids in an underfunded public school who go on a tour of an expensive private school. When I was younger I struggled with class resentment, even though I lived in a place where most everybody was working class. It would have blown my mind and not in a good way if I’d been taken on a tour of a school catering to super wealthy kids. I still struggle with the systemic unfairness that limits the opportunities for low income kids in North America. Before I finished The Truth Commission, which is set at the same school, I already knew I wanted to write about aspiring fashion designers.
MP: The Fashion Committee is written in dual narrative with entries from Charlie Dean and John Smith-Thomas in their respective fashion diaries over the course of the competition. Interestingly, despite their competing together and going to school together, Charlie and John have very little overlap within the pages of this book. How did you go about organizing their two stories to become the plot of one novel? How did you balance having two first person narrators with such distinct personalities and styles?
SJ: I wanted their different perspectives on the contest and the act of designing clothes to act almost as a conversation about fashion. What’s wonderful about it? What’s problematic? Is it a legitimate and serious art form? Their worlds wouldn’t intersect much because they are not likely to be friends but I imagined that their observations of each other would be quite revealing. The two of them helped me to sort out some of my feelings about fashion. Charlie allowed me to explore the costs and benefits of true artistic obsession and John’s experiences let me think about how good people sometimes betray people they love and how self-righteous anger can be a trap. John is a less extreme and less stylized (and stylish!) character than Charlie, so his voice took longer to develop.
MP: This book all comes down to perspective and perception. Charlie grapples with the choices she has to make to pursue her dreams and ambitions while navigating the turbulence inherent to her father’s addiction. John, meanwhile, has to let go a lot of his own biases and unpack his privilege as he tries to reconcile his own self-perception with a newfound desire to be more. One of my favorite quotes is from John as he begins to realize this and says, “It was beginning to occur to me that I was a little too in love with stereotypes and preconceptions.” Did you always know that Charlie and John would have these multifaceted personalities and secrets? How did you handle layering that into their narratives?
SJ: My understanding of Charlie and John deepened with each draft and I kept my mind open to multiple possibilities in each scene as they progressed through the application process and created their designs for the fashion show. They surprised me at every turn. It’s not a terribly efficient way to work, but I’m a believer in letting the characters lead the way.
MP: This book isn’t your first foray into fashion or art school in your writing or in your life. What was your favorite thing about your time in design school? Did you do any hands on research with fashion design or metalwork for this book?
SJ: It was thrilling to learn some new drafting or sewing technique. When I attended fashion design school I was having quite a few personal problems. It was my first time away from my small town and I was living in Toronto, Canada’s largest city. Unfortunately, I brought all my problems with me and developed some new ones. I ended up dropping out of school after six months. Not long after I left I learned that I’d won an award from the Costume Society of Ontario for one of my designs. I was gratified, but it felt bittersweet too. I could have been a contender!
For research, I read many books on fashion design, fashion theory, fashion history, and haute couture techniques. I visited the Manus x Machina fashion exhibit at The Met for inspiration. That was mind blowing. I also took a couple of metalworking classes and interviewed artists who work with metal. The research for this book was thoroughly enjoyable.
MP: Charlie and John each have to design a piece of clothing for the fashion competition. What would you have designed if you were in the competition? What are some things that would feature on your mood board?
SJ: I loved the period in 19th century fashion sometimes referred to as the Extravagant Period so I would likely have done something over the top. Huge crinolines, feathers. Completely impractical. My mood board would be full of photos of waterfalls, sheer cliffs and black birds resting on bare branches.
MP: Can you tell us anything about your next project?
SJ: I’m working on a new comedic crime novel for adults (and young adults who like that sort of thing) and a deeply bizarre picture book.
Thanks again to Susan for this awesome interview.