The following is an edited transcript of an interview conducted with Laure Pariente, founder and creative director of American Retro Studio. With over 25 years of experience in the fashion industry, Laure has played a key role in shaping contemporary French fashion through brands such as American Retro, Zoé Tees, and My Lovely Jeans. Today, she focuses on upcycling, garment reconstruction, and circular creativity. The conversation has been edited for length and clarity.
Zoe: Thank you so much for taking the time to speak with me today for Bocconi Students for Fashion. To start, could you introduce yourself and American Retro Studio?
Laure: Of course. My name is Laure Pariente, and I’ve been working in the fashion industry for over 25 years. Alongside my husband and my family, I co-founded several brands, including American Retro, Zoé’s tees, and My Lovely Jean. American Retro Studio is a project I launched after stepping away from traditional fashion production. It’s a studio focused on upcycling; reconstructing vintage garments sourced around the world into unique, contemporary pieces.
Zoe: You mentioned your long experience in fashion. How did your journey begin, and what shaped your early career?
Laure: I began in fashion through a very entrepreneurial, family-driven context. We built brands from the ground up, experiencing everything from creative direction to large-scale production and international distribution. Those years were incredibly formative. They gave me a deep understanding of how the industry functions but also, over time, made me question its sustainability.
Zoe: Your previous brands were progressively discontinued until 2015. What led to that?
Laure: The industry had become extremely fast-paced. More collections, more pressure, more volume.
By 2015, I felt disconnected from that model. Ending those brands wasn’t an abrupt decision; it was a gradual realization that I needed to pause, step back, and rethink my relationship with fashion and creation.
Zoe: What inspired you to return to fashion, and why through upcycling specifically?
Laure: After taking time away, I realized that creativity never really left me. But my values had changed.
Upcycling allowed me to design without contributing to overproduction. Working with existing garments felt like a respectful and meaningful way to return to fashion: transforming what already exists rather than constantly creating something new.
Zoe: How did American Retro Studio come to life?
Laure: I wanted to create a space that felt more like a laboratory than a traditional brand.
American Retro Studio is built around sourcing vintage clothes from different cities like Bangkok, Tokyo, Los Angeles, New York, and Paris and reconstructing them. Each piece carries cultural and personal history, which becomes part of the final design.
Zoe: What does your sourcing process look like, and how does it influence the final product?
Laure: Sourcing is fundamental. When you find a garment in Tokyo, it doesn’t speak the same language as one found in Los Angeles. The fabric, the wear, the cut — all of these elements guide the design. I don’t impose a fixed idea; I adapt to what the garment offers. That’s what makes every piece one of a kind.
Zoe: What have been the biggest challenges of working with upcycled and vintage garments?
Laure: One major challenge is scale. Upcycling is inherently limited; you can’t replicate pieces endlessly. Another challenge is logistics — sourcing internationally, ensuring quality, and managing production at a slower pace. But those challenges are also what preserve the integrity of the project.
Zoe: And on the other hand, what has been the most rewarding part of this journey?
Laure: Seeing people connect emotionally with the garments. When someone understands that a piece has lived another life before theirs, and still chooses to wear it, that’s incredibly rewarding. It means the message resonates beyond aesthetics.
Zoe: Compared to your past experience with your large brands, how does your creative process differ today?
Laure: Today, the process is slower and much more personal. In the past, creativity was often constrained by deadlines and production targets. With American Retro Studio, I can focus on craftsmanship, intuition, and quality rather than volume.
Zoe: Moving to the business side, how do you approach distribution and resale today?
Laure: I’m very interested in the C2C second-hand ecosystem, especially platforms like Vinted and Whatnot. Vinted allows garments to circulate longer and reach a broader audience, while Whatnot introduces storytelling through live formats: something that fits perfectly with vintage and reconstructed pieces.
Zoe: Looking ahead, where do you see American Retro Studio in the next few years?
Laure: I see it becoming a strong participant in the circular fashion ecosystem. Rather than focusing on traditional growth, my goal is to collaborate with platforms, creatives, and communities and continue proving that fashion can evolve through reuse, innovation, and responsibility.
Zoe: Finally, what advice would you give to fashion students at Bocconi who want to enter the industry today?
Laure: I would really encourage them to stay curious and to question things. Fashion today isn’t just about aesthetics anymore, but about responsibility, awareness, and having the courage to rethink the way the industry works. I truly believe the future belongs to those who manage to combine creativity with meaning.
Zoe: Thank you so much for your time and insights.
Laure: Thank you, it was a pleasure.
By Zoe Pariente
American Retro Studio can be found on Instagram: @americanretrostudio
