“We Don’t Borrow—We Buy”: Law Roach Talks Crafting Zendaya’s Immaculate Dune: Part Two Press Tour Looks

Channeling sci-fi futurism in a sleek, avant-garde way is something Roach and Zendaya have been nailing throughout the tour. Earlier this month, the duo’s work went viral when Zendaya emerged in London wearing Thierry Mugler’s archival robot suit from the late designer’s fall 1995 couture collection. “It was a dream to touch it, let alone get approval for her to wear it the way she wore it,” Roach says. “Casey Caldwell and his archive team were so incredible in helping make this collaboration happen.” Of course, when unearthing such a precious piece of fashion history, Roach had to handle the design with care. “It’s 30 years old, so I had respect for its craftsmanship,” he says. “Jean-Jacques [Urcun], the guy who actually crafted it with Mr. Mugler, was in our fittings; He helped dress her the night-of.”

In Seoul this month, Zendaya and Roach delivered another striking vintage moment, when the star slipped into Givenchy’s fall 1999 motherboard dress, designed by the late Lee McQueen. “I have this mental Rolodex of all these things I’ve seen, and when we were looking for a look, I was like, ‘I know I’ve seen this Givenchy somewhere,’” says Roach. “I called the owner of Aralda Vintage, and she still had it. We had it shipped to us in London and fitted there, and then we traveled with it to Korea.” The best part about the design on the red carpet? Seeing it lit up against the paparazzi flashes. “The appliqués are filled with a liquid, and that’s what happens when the light hits it,’ says Roach.

While Roach says he always has a hunch that pulling archive will please red carpet fans, the frequent decision to do so stems from a more personal place. “We never work based on what we think somebody’s reaction is going to be,” says Roach. “We’ve been [pulling vintage] since Zendaya and I began working together, for 13 years now. At first, it came out of necessity because back when we started, nobody would lend her clothes. And I come from vintage—I had a vintage store in Chicago—so a lot of the things that she wore were things from my store or vintage pieces.”

These days, Roach also sees a sustainable advantage to pulling archival designs as well, versus always doing custom. “If we’re really going to have conversations about sustainability, wearing something that somebody else has is kind of the easiest way to do it,” says Roach. “Beautiful clothes should live the longest lives possible, and as many lives as possible. They shouldn’t just lay dormant somewhere.” Often times, Roach says he tries to make as little alterations to the looks a possible, to respect the original integrity of the piece. “It’s very intentional,” he says. “I would never destroy a Lee McQueen! But we are able to alter things a little bit because we buy it. We don’t borrow from vintage dealers—we buy. It’s important to support smaller businesses.”