Francisco Costa

Francisco Costa (born 1961)is the creative director of Calvin Klein Collection.He is also the winner of the Council of Fashion Designers America (CFDA) award for best womenswear designer in March 2006 as well as in June 2008. Costa's designs have sometimes estranged longtime Calvin Klein customers. His clothes are lighter and more feminine than those marketed by Calvin Klein previously.

Youth, Education, and Training

Costa is the second youngest of five children. He grew up in Guarani, Brazil, where his mother, Maria-Francisca, owned a children's wear factory. She began her business producing dresses commissioned by a traveling salesman. Costa's father, Jacy Neves da Costa, ran a small ranch. In his hometown of 4,000 people, Costa put on fashion shows for charities. His size is compact and he has brown eyes. Being civic minded by nature, his mother was like the mayor of the town. She presided over her family. Costa remembers there being fifteen people at his family's lunch table.

When his mother died in 1981 he left with a friend for New York City. He was twenty and spoke no English at the time. He enrolled in a language class at Hunter College and took courses at the Fashion Institute of Technology at night. He obtained employment with Herbert Rounick, whose Seventh Avenue (Manhattan) company made dresses for Oscar de la Renta and Bill Blass. Costa went to work for de la Renta after Rounick's death, designing for the firm's Japanese licenses. Costa credits de la Renta with teaching him the most about both designing clothes and life. He remained with the company for five years.

enior Designer at Calvin Klein

Klein's partner, Barry Schwartz, brought Costa's name to Klein's attention in 2001.What Comes Between Costa And His Calvins?", New York Times Magazine, Spring 2006, pgs. 210-215.] Costa became the principal designer for Calvin Klein at the age of 42, in September 2003. Earlier in the year Klein sold his company to Phillips-Van Heusen for approximately $730 million. Costa joined the Klein design group in 2001 after working for Gucci, where he was an assistant to
Tom Ford. Their first collaboration is known as the Cher Collection. Costa was mentioned as a possible replacement when Ford retired from designing for Gucci and Yves Saint Laurent, in late 2003."Gucci's Choice For Designer Needs Sketches, and Charisma", New York Times, November 6, 2003, pg. C1.]

Fashion Collections 2004 "-" 2007

He emphasized trouser suits for women as opposed to ruffles in the spring 2004 collections. His creations stress the idea of freedom in dress with female underpinnings. With evening dresses Costa's designs reveal both flesh and underpants, often accentuated by the cool hues of the sea. He is not uptight concerning nudity and lingerie. Costa preferssensuality in sexual imagery as opposed to the more explicit ads used to market Calvin Klein clothes formerly.

For 2004 his modelswore stretch bras and underpants in foundation colors. Costa utilized a clingy, transparent material for daytime skirts. He combined them with cashmere tops, which sometimes gave the look an artificial quality. Costa's loose cotton shorts, modelled with cardigansweaters, were layered over rumpled white shirts and men's ribbed undershirts. This look reflected the late 1970s styles when designers like Calvin Klein and Perry Ellis came to prominence."Calvin Klein's Successor Loosens The Corset Laces", New York Times, September 18, 2003, pg. B7.]

Costa maintains a ledger-size mood book in his studio. In early 2004 photographs of horses by Max Eastman appeared frequently in these volumes. Costa is inspired by the coats of horses, especially in his palettes of sepia and cream. The textures of his collection owe much to pony skin, alpaca, and leather. He enjoys photographs of Lauren Hutton and Charlotte Rampling from the 1970s, particularly ones which have them posed in close proximity with ponies and stallions. Costa said, "These women are thoroughbreds." ["Bless This Mess", New York Times, February 8, 2004, pg. 9.1.]

In the fall of 2004 Costa introduced washed silk dresses and black wool felt coats. The clothing was given weight by the librarian brogue heel, variations of which first appeared at Calvin Klein. The style was exceedingly popular during both the Paris, France and Milan, Italy shows. ["Accessorizing With Punch", New York Times, March 16, 2004, pg. B.8.]

In his collection for Spring 2005 Costa showed a sea-green silk dress "wrapped like a towel". An alternative of the dress, of like color and style, was unveiled on the runway in September 2004. The silk dress was coveted by many buyers and was shipped to stores in the late fall and early winter. ["Shh! Just Pretend You've Never Seen Those Styles", New York Times, September 7, 2004, pg. A1.]

The original inspiration for this collection were primitive wood sculptures by Brancusi. After spending a week in Wyoming Costa aspired to capture the surreal hues of green, blue, and orange, which he had observed juxtaposed with the western landscape at Yellowstone National Park. Costa purchased silk and
viscose jersey (clothing) in the garment center of New York City. He had these dyed to match the colors he had photographed in Wyoming. Next he pinned the fabrics on a model, blending and shaping the patterns until he was pleased with their natural effect. The evening dresses he designedwere uncomplicated. They were based on a trapeze, combining viscose jersey with silk to make them appear lively. ["All the Pretty Clothes. And Then, Calvin Klein", New York Times, September 16, 2004, pg. B.11.]

Vogue and Harper's Bazaar chose a lime green dress worn by Elle Macpherson as a highlight of 2005. Both publications named her to their best dressed lists after she wore the Costa design, which she combined with casual flats. Macpherson asked Costa to pick the color and he selected lime green. It was especially attractive on her because of her skin color. ["The Good, The Bad And the Huh?", New York Times, January 5, 2006, pg. G.1.]

Costa's new collection for Calvin Klein was criticized by critic, Cathy Horyn, for conveying "largely a surface beauty". She wrote about his February 2006 showing in the New York Times. It featured dresses with many layers of black chiffon and tulle. Horn pointed out that Calvin Klein is a sportswear house, not a dress house, and Costa is gifted with a talent for designing sportswear. His collection was reminiscent of the 1930s, with shapes which were long and relaxed. The models wore chiffon bras with tiny handkerchief points of chiffon on their dresses, which extended nakedly across their backs. Horn wondered if many women would not find the fashions "untenable and fussy, if not stifling." ["Evolution on the Runway; Room to Grow", New York Times, February 11, 2006, pg. B.20.]

In May 2006 Costa served as chairman of a benefit for the Whitney Museum of American Art. He conceived a project for the museum which created art out of fashion. He approached artists Ghada Amer, Vik Muniz, and Billy Sullivan about making art which would be clearly identified with fashion. After showing at the Whitney Art Party, the work was moved and displayed in the windows of the Calvin Klein boutique on Madison Avenue (Manhattan). ["Using a White Shirt As Their Canvas", New York Times, May 11, 2006, pg. G.6.]

Costa designed a line of long slim dresses and pantsuits which were introduced in September 2007. They were constructed of white stretch cotton. His collection featured long stretch silk T-shirts in egg-wash shades of green or blue. The colors accentuated the refreshing impression of the lines, especially Costa's spare evening halters worn with high-waist silk trousers and a strapless dress of pale jade organza. Reviewer Horyn had only one criticism of a collection she believes "will gain more meaning with time." This was Costa's failure to notice that the hemlines of his dresses should have been longer. ["Designers in a Time of Many Dresses, Some Terrific", New York Times, September 13, 2007, pg. B.8.]

Private Life

As of May 2004 Costa's companion was horse trainer John DeStefano Jr. The two had been together fourteen years. Costa donned a coat and tie to join DeStefano for opening day at Belmont Park, where the latter had horses running in the eighth and ninth races. ["With the Clotheshorses Of the Backstretch", New York Times, May 11, 2004, pg. B.11.] Costa and DeStefano met at George Smith, the furniture store where Costa worked on Saturdays to supplement the salary he earned on Seventh Avenue. During their first meeting DeStefano queried Costa for forty-five minutes even though he lacked a true interest in sofas. The two met again at a bar a few weeks later and became a couple afterward.

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