TFI Talks: The Founder of Sublime Etéreo Vintage, Zabrina Estrada
Heaven is Zabrina's by-appointment-only, UES atelier where she presents her extraordinary vintage finds from 70s Saint Laurent to museum quality Cristóbal Balenciaga.
I usually don’t start off on a negative note, especially considering this is such a beautiful post, but people’s lack of interest in fashion history today makes me sad. Not just because historical context is everything, but also because much of the craftsmanship and the innovative design of the past is almost unparalleled today. They don’t make things like they used to isn’t a cliché, it’s usually the truth.
Luckily, there are women like Zabrina Estrada, who are passionate about seeking out archival designer pieces that are exquisite in detail and exemplary of their time. Walking into her UES atelier feels like you’ve entered an elegant 1920s Parisian salon. It is pure glamour (something I miss) and the clothes…well….I imagine Nicole Kidman would buy a gown here to wear to the Oscars, yet there are plenty of other pieces I can afford and am considering. Her treasures are the epitome of fewer, better things, and who doesn’t want the thrill of wearing something unique and beautiful. This is money well spent. Plus, her imagery is dreamy. I need more excuses to dress up.
Some of her current standouts include:
Archival Hubert de Givenchy Haute Couture Opera Coat, circa 1961-63. A full-length muted ivory silk gazar opera coat with ¾ sleeves and four patch pockets. Similar garments can be found in renowned museum collections. Labeled, Givenchy.
An evening dress attributed to Jean Patou Haute Couture, circa 1925-27. A fine mid-weight silk dress with a trompe l’oeil “necklace” and densely hand-embellished scalloped hemline, in glass beads in hues of rose and greens. Based on examples from the Met Costume Collection, the Victoria & Albert Museum, and the Musée Galliera de la Mode, this garment is attributed to his collections during the period of 1925-27. Jean Patou’s work of this period was characterized by simple dress silhouettes with fantastical and refined beadwork; with a focus on chinoiserie scenes and motifs.
Vitaldi Babani Haute Couture 1920s saffron silk velvet evening coat with bullion embroidery. Labelled ‘Babani, 98 bd Haussmann Paris.’ The Parisian house of Babani was founded in 1894 and began as an importer of exotic goods and ‘objets d’art,’ stocking garments by Fortuny and importing textiles by Liberty & Co.
What I wish I had in my closet: this YSL 70s satin suit; this YSL satin duo.
Below, Zabrina answers my ?s.
Tell us briefly your career path before starting Etéreo.
I worked in sales for Valentino and Christian Dior for 10 years where I gained invaluable insights into the heritage of these prestigious houses and honed my skills in luxury client experience.
What inspired you to launch Etéreo?
The pandemic offered many of us a rare opportunity to be still and reflect on our thoughts and dreams. I have loved fashion for as long as I can remember, but after a decade of working in the retail sector, I found myself falling out of love with it. This time of introspection inspired me to create something that celebrates and preserves the magic of fashion's past, but this time, on my own terms.
What makes Etéreo different than other vintage boutiques/dealers?
The salon pays homage to the intimate allure of early 20th-century fashion, evoking the visionary styles of Elsa Schiaparelli and Coco Chanel. By appointment only, we offer an exclusive and personalized shopping experience.
Our tightly curated selection showcases rare and significant pieces from European couturiers such as Cristóbal Balenciaga, Christian Dior, Mariano Fortuny, and more.
The art of storytelling is very important to me. While our selections aren't available online, we present them exclusively through monthly lookbooks to our clients on our exclusive mailing list. This allows those abroad or outside NYC to partake in our story.
What truly delights me is that our clients arrive to their visits without knowing what they will discover, only to leave with a serendipitous treasure—a testament to the meaningful connections made within our salon.
Your pieces span various price points and eras, what typically draws you to include a piece in the collection?
I draw inspiration from the rich textiles of the 1920-30s, the construction techniques of 1950-60s couturiers, and the timeless modernism of 90’s fashion. What captivates me most is the intricate craftsmanship and unique story each piece tells.
It is this blend of rich history, exceptional craftsmanship, and timeless appeal that makes each piece worthy of inclusion. Each garment not only represents a moment in fashion history but also integrates seamlessly into the modern wardrobe, offering our clients a piece of the past for their present.
Your biggest find to date?
An unlabeled 1927-28 Gabrielle Chanel piece that I had the utmost pleasure of discussing with Hamish Bowles, and an Autumn/Winter 1960 Yves Saint Laurent evening blouse for Christian Dior.
The eras/designers that you are most drawn to now?
My favorite eras remain the 1920s and 1930s, a time when women sought elegance and escapism through their clothing.
As for designers, I admire Elsa Schiaparelli for her whimsical creativity, Cristóbal Balenciaga for his mastery of cut, and Miuccia Prada for her profound understanding of how to dress the modern woman while infusing a fantastical element into her creations.
You have some pieces that are museum worthy, are they meant to be worn or solely for admiration and understanding?
Tina Chow serves as a constant muse and source of inspiration for me. Recently, I came across a captivating little anecdote about her meticulous care of her Fortuny collection—she seamlessly transitioned from wearing these exquisite pieces on a night of dancing by slipping them into a coordinating velvet pouch, suspended delicately from her neck with a silk cord [yes, the dresses fold up that small], and would change into Bill Gibb of the period.
Within my collection, while some pieces could be considered museum-worthy, I am committed to selecting garments meant to be worn and cherished, albeit with meticulous care. These treasures, spanning over a century in age, have withstood the test of time, retaining their near-pristine condition. I firmly believe that with careful and dedicated garment care, they will continue to radiate their inherent beauty and craftsmanship for years to come.
There is something to be said about the craftsmanship and fabrics used of times past.
Is there a designer/specific dream piece you have yet to find?
I often explore museum collections and delight in discovering lesser-known artists and rare pieces. In the Palais Galliera online database, I found a 1920s garment by Suzanne Bertillon—a jacket adorned with bullion trim and stenciled silk. It reminds me of a similar 1920s Liberty London piece I currently have in my collection.
And anything by the esteemed Charles James or Paul Poiret!
The thing you love most about what you do:
The art of storytelling through garments and meeting inspiring women and men who connect with Etéreo. It deeply inspires both my creative process and me.
Favorite pieces you’re wearing now:
In my day-to-day life, I embrace minimalism and what you would call a ‘uniform.’ During summer, I gravitate towards silk caftans from The Row and Eskandar, as well as bespoke linen pieces. I complement these staples with interchangeable silk and linen separates from Zoran.
Recently, I discovered a new favorite: a pair of vintage Manolo Blahnik mules in black and white shagreen that I'm eager to wear for an evening out.
I'm also eagerly anticipating the addition of a bespoke dress and coat by Patricia Voto at One of NY !
**all photos by Anastasiia Duvallié
x
Jennifer
Follow me on Instagram @theflairindex. Some links are affiliates, and I may earn a small commission from them.
Thanks Jennifer - this is so interesting to know about and the images are gorgeous !
The art of storytelling through garments 🫶🏻