Kerry Jones is a force. She’s confrontational; she’s gorgeous, bold and has rockin’ style. She’s also nurturing and innately generous, constantly aware of her surroundings, and of the people filing those spaces. Encyclopedic words roll off her tongue and four-course meals can be thrown together in minutes. Mrs. Jones, boyz, Mrs. Jones. 

She’s a fashion designer based in Brooklyn who worships knit textures and lace, and squeals about a serendipitous form and structure. She’s also worked in collaboration with other artists to make conceptual installation pieces that utilize audio mixing, live models and textiles in a sculptural way.

Her label, Royal Jelly, allows Kerry to manipulate fabrics to emphasize the beauty of the female body but also offers her the freedom to employ architectural techniques and create pieces that could just as easily decorate a wall.

Kerry Jones: What drives me to make is that most existing fashion, specifically modern stuff, doesn’t excite me. I’ll see a piece at a boutique or on a girl on the street and be like, “oh that’s cool, but I would change this aspect of it.” I’m a control freak.

Creating a garment exactly the way I want to, with all aspects in perfect harmony, truly satisfies. And then when a girl is like, “I love that, holy cow, I must own that,” I’m like, “whoa, cool.”

I knit and crochet headpieces and shoulder wraps. I really love chunky huge yarn that’s so, so soft. Twinkle rocks. I create kimonos in variation. I also do lots of shrugs, capes, boleros and wraps. Distressed fabrics make a garment super unique. But yeah, creating sculptural statement pieces is what I do.

I love materials; I love my fabrics. I use them because they are special, unique, rich and nowhere else. I am constantly collecting, scouring the world for fabrics. I find them everywhere, in all states I’ve been to, from all decades. If I see something I like and want to incorporate into my collection, my thesis, my name, I grab it.

I also really love vintage fabrics. Print is the vital, make or break criteria for me when it comes to choosing fabrics, but the hand of the fabric is a close second.

Fit and cut are also huge. I have an affinity for Japanese fabrics and customs, and Japanese fashion in general. I play off the kimono shape with swinging sleeves, but modernize it by shortening the length, lowering the neckline, embellishing and subtracting the obi. Don’t get me wrong, I am obsessed with the obi, I just haven’t delved into all I want to delve into when it comes to the obi. Stay tuned.

In terms of modern fashion, cut is the most exciting aspect. Rick Owens, Alexander McQueen, Matthew Williamson, Donna Karan, Rodarte, these designers are pushing the boundaries when it comes to shaping a garment to a woman’s body in new and outrageous, yet flattering, ways. The body plays a huge role. I’m a woman with curves and know that we all have glorious curves that we’re proud of and wanna accentuate, but that we also have ones we don’t love as much. I admire all types of bodies, every model I work with I’m like, “Whoa, you have such an amazing body!” Because she does.

I totally love the process of conceptualizing a piece, creating the piece from specific fabric and thread and whatever else I choose, and then seeing it done and on the body and loving it. Or changing it. Or seeing it six months later and being like “ew,” or like “FUCK YES.”

I just love the whole process of making, all the mistakes and all the triumphs.


Kerry’s work is for sale on Etsy and in Honey & Hazel in Brooklyn. Visit her Web site or contact her .(JavaScript must be enabled to view this email address)