When Los Angeles artist Tess Crockett’s denim designs came on our radar, we immediately linked up through a mutual friend and hit her up for some work. The result was a custom Cromer Pant HUF hydrant, fully covered in Brad’s signature denim and detailed beyond what we imagined.

Blending pop culture iconography with vintage patterns and heritage materials. Tess’s take on cut-and-sew design brings a fresh perspective and unique juxtaposition of eras and genres to classic silhouettes. Now based in NYC where she attends Parsons School of Design, we caught up with Tess for Common Thread to discuss her creative process, living in New York, and what started her denim obsession.

Photos by Mike Heikkila
Tess seen wearing HUF Spring 24

Do you come from a creative background?

I wouldn’t say I come from the most creative background—my siblings and I are all into very different things. I think the diversity in any space within interests—especially in such close quarters when living with family—is where you are being pushed to think outside of yourself the most. I gained a lot of insight into different worlds. It’s all significant to who I am as an artist in the end.

Coming from LA what do you like and dislike about living in New York?

The best part about living in NYC is that it is a constant source of inspiration, that is if you are paying attention. The worst part is it’s really hard to find balance and consistency. The city is forever changing and moving and it will leave you behind if you can’t keep up. Not that I know anything about surfing, but I think the key to living here is learning how to ride the wave, work with the chaos, and use it to your advantage. I think if you can do that, being a young creative in NYC is one of the most fruitful experiences there is. I’m still trying to figure that out.

What drew you to denim as a central theme in your work?

I think denim is the most timeless material. It’s something we all have in our closets in some form and never regard much, but it really has managed to see the light of decades and it has successfully bypassed trend cycling. It always has been and always will be relevant. Covering things in denim is a way of challenging my artistic boundaries because it’s been around for so long and has already been in so many ways. I want to see how far outside the box I can go. I want people to be like, ‘What the fuck?’ That’s what keeps it interesting.

Does your creative process vary from project to project or do you have a theme or idea you’re always trying to convey?

I approach all my projects with the same level of love and care. They all receive the same attention to detail whether that be a garment or denim-covered sculpture. The end result is always changing but the process doesn’t feel different. They’re all products of the way I think… in one way or another.

What’s a dream project for you and why?

Mostly, I want to end up in an environment where I am surrounded by creative thinkers. I want to collaborate with artists. I want to build with someone. It would be sweet to work with someone in the music industry, maybe a music video or something, since I find myself feeling inspired by the craft. But I’m excited about any and all projects that come my way. I love taking visions and making them realities.