gastt: Hello Josephine and Livia! Thank you for answering my questions. To begin, I’d like to learn more about your background. How have your Swedish roots shaped your aesthetic sensibilities and influenced your approach to design?
Rave Review: Our design DNA is very connected to the fabrics that we use. In the beginning of the brand we sourced everything in Sweden, so in that sense our Swedish roots influenced our aesthetics a lot. Our approach to design and sustainability is not really something that consciously came from our roots, even though Scandinavia is quite known for it.
gastt: That’s interesting. Why do you think this is?
Rave Review: When we started the brand we knew we wanted to work with upcycling, but not in what way, and how it would look. We went to the local secondhand markets and vintage stores to buy fabrics, and started doing upcycling workshops together in the atelier. What we found most interesting was to work with home textiles - fabrics that were very recognisable and had a lot of character.
gastt: I wonder if this interest in home textiles is reflected in one of your previous collections, “The Simple Life” (S/S 2025)? It seems like you were exploring one’s yearning for the simplicity of rural life, while dealing with the pressures and fast pace of modern city life. How did you create a sense of harmony between these seemingly opposing ideas?
Rave Review: The so-called “yearning” I believe a lot of city people can relate to - the idea of the simple life, which maybe doesn't translate in the actual reality of it. It’s more about interpreting a fantasy, which takes place in our everyday, sometimes a bit too fast-paced life. We design after our own needs and desires, and that's where a lot of the silhouettes come from, infused with these tokens, fabrics, and dreams from this “Simple Life” fantasy.
gastt: Were you aiming to create garments that could be practical for both rural and urban lifestyles?
Rave Review: The majority of the garments are more practical for an urban life, but we like the idea that it can be worn in a rural world as well, as it contains a lot of quite casual fabrics and easy-to-wear styles.
gastt: I can see that! Did you encounter any challenges while exploring this duality?
Rave Review: One challenge was maybe how to balance the rural side of the collection, and making some fabrics and details feel contemporary and fresh. But that's always been our challenge, which is also the interesting part of it - to merge the two worlds of the retro-looking from vintage fabrics, and the new.
gastt: What are some of the criteria you consider when you’re sourcing the fabrics and materials you use in your collections?
Rave Review: We adjust our criteria over the seasons. In the beginning, we used almost only vintage and secondhand materials - mainly blankets, bed linen, tablecloths, and curtains. Using only these kinds of materials limited us in scaling up production, and growing the business. Nowadays we also use deadstock, which didn’t exist in the same way when we started. This allows us to grow and have a more streamlined production process, while still staying true to our concept of using pre-existing materials.
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gasttHouse Interview Series # 9: Rave Review
For the ninth interview of the gasttHouse Series, I spoke to the amazing founders of Rave Review, Josephine Bergqvist and Livia Schück!
Rave Review was founded in 2018 by Josephine Bergqvist and Livia Schück, with a focus on combining recycling with high-end fashion.
Their distinct point of view and radical approach to design have garnered acclaim within the fashion industry, and many high-profile figures (such as Doechii and Rosalía) have been spotted in their pieces.
You can check out more Rave Review on their Instagram, and website.
Make sure to check back on Mondays for a new interview with more incredible gasttHouse Guests!
***gastt: I think this line of conversation dovetails quite nicely into another subject I was hoping to ask you about - Sustainability. I’m sensing that sustainability is important to you, so what kind of role does it play in your work?
Rave Review: Sustainability is at the foundation of Rave Review. This commitment drives every aspect of our design and production process. For us, because of our sustainable practice, it’s always starting with the materials, which is a bit different from the traditional design process where it’s usually starting with the garment. The concepts of ‘remake’ and ‘deconstruction’ are also a very important part of the research and experimental process of making a collection. Deconstructing a garment or home textile generates a lot of ideas.
gastt: While the sustainable ethos of Rave Review is very inspiring, I’m curious to know how you manage to uphold these principles from a business standpoint. Is it difficult for you to do so, considering the demands of the ultra-fast-paced fashion industry?
Rave Review: When we started back in 2018, our upcycling concept was so unique and new, especially in high-end fashion, and the goal was to combine recycling and high-end. Because of this, we made the choice to be a part of the traditional seasonal fashion scene schedule.
Now, a few years later, we are definitely questioning the fast-paced industry and how suitable it actually is for our concept. This is also because we are growing our own e-comm, which gives us the flexibility to create drops however we like, and that is a very inspiring way of working.
gastt: It’s great to hear that you’re exploring new avenues and building your own ways to reach your community. On the topic of inspiration - because of your staunch commitment to sustainability, has it ever been tough for you to express yourself freely through your work?
Rave Review: Our sustainable concept has never really been challenging for our expression, it has rather been helpful and inspiring. It made it easier for us to find our design DNA, and to stick to it. For us, it’s easier to design when we have a framework, and not just a blank paper.
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gastt: I’m glad to hear that, and I think a lot of socially conscious emerging designers would also find that reassuring. I’d actually like to delve a bit deeper into the dynamics of your creative partnerships. Naturally, you work together as a duo, but you have also collaborated with various external companies over the past few years, such as PUMA. How big of a role does collaboration play in your creative process, generally speaking?
Rave Review: Collaborations - both between us, and with other people and companies - are always a good way to infuse fresh ideas and energy, as long as we don’t compromise on our vision and purpose. Each partnership can bring its own set of values.
For instance, our collaboration with PUMA allowed us to merge into more streetwear, which is something we want to explore more. Collaborations not only foster creativity, but also build a sense of community.
gastt: You clearly have your own distinct design language and have a strong sense of your brand DNA, which you mentioned earlier. How do you respect the vision of collaborators like PUMA, while maintaining your own aesthetic perspective?
Rave Review: It’s about setting the ground rules and expectations from the very start, fully exploring what each part wants to get out of the collaboration. Clear communication is key.
gastt: Definitely! Earlier, you mentioned that collaborations can help to build a sense of community. Is building a community based around Rave Review important to you?
Rave Review: Building a community is one of the most important things to achieve success, it probably applies to most brands out there. It can be really challenging at times, but the aim is always to build a world people want to be a part of.
gastt: For sure. Does the feedback you receive from your community ever impact your creative process?
Rave Review: Of course, we’re observant to our customers' feedback, and the market in all. But it’s actually even more important to just follow our own path, and look more inwards. The world we build has to come from us, and not the opposite. But the community can be a good source of inspiration.
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gastt: I really like that perspective, and in my opinion, that comes through very clearly in your work. When you’re developing your collections, would you say that you also put a lot of emphasis on research?
Rave Review: Laying a good foundation of research is always important in the design process. Some collections go smoother when we maybe build on something we already explored in the previous one. There’s a lot of ideas we don’t have time to execute, which we save for the next projects.
gastt: Does each collection represent something brand new for you, or are they mostly continuations of themes from previous collections? Or both?
Rave Review: Both for sure. It would be tiring and also not good for the branding to start from scratch each collection. Each collection is linked, and we take them further each season, but with an infusion of new ideas and perspectives of course.
gastt: Do you also try to leave space in your creative process to experiment a bit?
Rave Review: Some of the most interesting ideas can come towards the end, when you see the full picture. We always try to have a bit of a margin for it timewise, as it can tie the collection together.
We used to be more improvisational in the start of the brand's journey, but it was also an important part of our learning process with the brand. Today, of course parts are, but it's also crucial to do a good plan of assortment as a foundation.
gastt: That makes sense! Considering your perspective on this, do you see yourselves as perfectionists, or are you willing to embrace the “mistakes” when they happen?
Rave Review: We definitely learned over the years that a lot of good ideas come last minute and are very intuitive, sometimes by mistake. That’s one of the magical things with the creative process innit? I wouldn't say we’re extreme perfectionists in general.
gastt: It’s great that you have managed to find that sense of balance. As I’m sure you know, many people working in creative industries often struggle to delineate between hard work, and overextending themselves. How do you recharge your creativity, and create space for yourself?
Rave Review: That is one of the biggest challenges with being a founder, and also creative in a small company when you also tackle a lot of different roles, not only the design.
After working with the brand for many years, we learned the importance of finding that balance, and also making space to find inspiration again, even though it’s really tough at times.
One thing is to just do things that bring joy, which doesn't necessarily have to be related to fashion. Doing collections can empty the source of inspiration, and then you have to find ways to fill it again, and it can happen in the most unexpected ways.
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gastt: Thanks so much again for speaking with me, this has been really enlightening and insightful. To finish, I'd like to ask you something very broad - if you could change one thing about the fashion industry in 2025, what would that be?
Rave Review: It would probably be the insanely fast-moving pace of the industry and the impact of social media. Nothing new to bring to the table really, but it’s just getting crazier and crazier.
gastt: And to conclude on a positive note - what are some positive developments in the fashion industry over the past few years that you would like to highlight?
Rave Review: Maybe upcycling is seen as something you can make a business of - the industry has finally adapted. Although, so many companies could do so much better. Same goes for inclusivity, things are happening, but it’s far from good enough.
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Autumn / Winter 2025 Credits:
Creative Direction: Rave Review .
Photography: Ben Beagent @ben088 .
Styling: Vittoria Cerciello @vittoriacerciello .
Casting: Tereza Ortiz @ortizcasting .
Models: Elisabet, Sascha, Maire, Åsa, Koren, Gunnel.
Make-Up: Ignacio Alonco @iggyfly .
Hair: Amanda Lund @amandalundhair .
Rubber boots by @tretorn_europe.
Spring / Summer 2025 Credits:
Styling - @vittoriacerciello @mawouldgroup
Casting - @emmamatell @maworldgroup
Production - @ritacremonaa & @babysiyan
Hair - @_uncle__lee_ for @mrsmithhair @maworldgroup
Make up - @zeniajaeger for @submission.beauty .
PR - @radical.pr .
Shoes - PUMA Speedcats @pumanordic @puma.italy
Photography: Luca Tombolini.
Autumn / Winter 2024 Credits:
Styling - @vittoriacerciello @mawouldgroup .
Casting - @emmamatell @maworldgroup .
Production - @uncnd_ltd .
Hair - @_uncle__lee_ for @mrsmithhair @maworldgroup .
Make up - @zeniajaeger for @submission.beauty .
Nails - @mhchi28__2 .
Set design - @violablovia .
Music - @astrel_k .
PR - @referencestudios .
Graphics - William Hesseldahl .
Shoes - @ugo_paulon .
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Interview Conducted by gastt Fashion / @_gastt .
Graphic Design / Layout by gastt Fashion / @_gastt .
AW24 Stills / Videos by gastt Fashion / @_gastt .
AW24 Finale video by @leanaluain .
Many thanks to Josephine, Livia, and Jade for facilitating this interview!
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gastt: Hi Charlie, thanks for answering my questions! To start off, I'd like to learn more about your background. As a British-Cypriot designer, would you say that your Cypriot roots have informed your aesthetic sensibilities, and your approach to design?
Charlie Constantinou: I think my roots definitely contribute greatly to my work, while it is not necessarily always a specific element of my work which is inspired by my roots. I think my background contributes to my sense of world building, and a lot of the symbolism referenced in my work tends to connect to ancient Cypriot artefacts. I would say my roots influence my work but not necessarily in a modern sense.
gastt: Since you’re primarily based in London at the moment, would you say that living and working in London has influenced your designs in any particular ways?
Charlie Constantinou: There is definitely some influence that plays into my work. It may not be so much influencing design itself, but rather contributes to my sense of world building. Being surrounded by so many people of different backgrounds and cultures really helped me to build the vision of who the type of people I aspired to design for.
gastt: I’d say that definitely comes through in your work. Your collections are eclectic and fit with your own distinct design language, but they also have a natural and organic quality to them. When you are starting to design your pieces, do you usually take a more improvisational or intuitive approach? Or are you more inclined to do a lot of research and planning beforehand?
Charlie Constantinou: I tend to begin every season with a lot of research, which always tends to start from outside of fashion references. I look very heavily into historical research, from ancient periods to modern day. There is always some garment referencing within that, but the majority of references I use tend to be from preserved objects or artefacts.
There are certain parts of each collection I may already have in mind before finalising research. In those cases, sometimes I begin working on developments ahead of even properly building a board of research for that season.
gastt: Considering the amount of research you do, would you consider yourself to be a bit of a perfectionist?
Charlie Constantinou: I do consider myself a perfectionist, while that is not always necessarily a good thing and can sometimes hinder the process. I try to push myself out of it at times.
gastt: I can understand that. I'm sure there are a multitude of creative and technical elements you must perfect in order to reach the standard of quality you are known for. I'm curious to ask you more about this topic, since many brands are frequently accused of prioritising aesthetics over functionality. How do you personally try to navigate this, and strike the perfect balance between aesthetic appeal and functionality?
Charlie Constantinou: I don’t believe in doing anything for the sake of aesthetics. Even a garment that you might not consider the most ‘functional’ such as a basic top or trouser has some degree of function and purpose to it. I think function is an essential part of anything I produce, and then going beyond into adaptable / transformable wear is simply an extension of that.
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gasttHouse Interview Series # 8: Charlie Constantinou
For the eighth interview of the gasttHouse Series, I spoke to the incredible Charlie Constantinou about a variety of topics, ranging from their innovative textile developments, to the natural beauty of Iceland.
Charlie Constantinou is a British-Cypriot fashion designer, and a graduate of the prestigious Central Saint Martins MA programme.
Charlie's pieces have been worn by the likes of Teyana Taylor and Central Cee, and he has pioneered a distinctive signature quilted nylon textile.
He is also highly regarded within the fashion industry, having been an LVMH prize semi-finalist in 2023, and the winner of the International Talent Support Competition in 2022.
You can check out more of Charlie’s work on their Instagram, and website.
Make sure to check back on Mondays for a new interview with more incredible gasttHouse Guests!
***gastt: On that topic, many of your pieces do have utilitarian or transformative elements, such as zips and drawstrings to adjust the fit, removable components, expansion panels, etc.. Why is it important that your pieces can be easily altered by the wearer?
Charlie Constantinou: I think allowing the wearer to have a level of control on how their pieces fit can help reduce the need to overconsume. By having pieces you can wear in multiple ways, it can often be like having multiple garments within one.
gastt: Totally, I really appreciate the level of thought given to the versatility and adaptability of your pieces. It seems that you are constantly exploring new and innovative ways to develop and modify your designs, as well as the textiles you work with. What impact do the textiles themselves have on your work?
Charlie Constantinou: Textile is a crucial element to my work, I have always loved texture and how that can influence a silhouette itself. I also think textile can contribute to the function and adaptability of a garment to some extent.
gastt: I noticed that you also incorporate deadstock fabrics into your design process. Why do you choose to do this? How do you manage to alter them to fit with your distinct design language?
Charlie Constantinou: I began exploring dyeing during my Bachelor's degree as I had no budget, and our university would occasionally get fabric donations, which I would often work with. I began dyeing to make the materials fit better into my world. From there, I continued developing various ways of dyeing either fabric or garments, and then began only working with deadstock white or neutral coloured fabrics as a base.
gastt: The quilted nylon textile that you have developed is often considered to be one of your “signatures”. How did it first emerge in your designs?
Charlie Constantinou: I began developing the quilted textile towards the end of my Bachelor's degree - it was not until after I graduated that I began really developing it to what it is now.
I took a gap year between BA and MA where I was working part time for another brand, and also working on my own pieces on the side. In that time I was selling one of the pieces, as well as working on pieces for myself / archive.
gastt: Has the quilted nylon material itself ever led you to a new creative breakthrough, or dictated the direction of your designs?
Charlie Constantinou: I originally developed the quilt partially as an accident. I was dyeing a quilted garment I had made and the fabric had shrunk due to the heat of the dye. While that garment became unwearable as it was far too small, it gave me the idea of developing a quilted fabric which would have the ability to expand and retract in size. At first, I approached it more so for developing accessories, but it then continued to lead to new variations during my MA, and [was] then incorporated into outerwear.
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gastt: I like that you mentioned your interest in developing a textile with the ability to expand and retract in size, it almost sounds like an organism. From my perspective, many of the textiles and shapes in your work seem to be informed by nature, and natural forms. Do you personally see the influence of nature manifesting in your work? If so, how?
Charlie Constantinou: Above all else, nature is probably the biggest source of inspiration to my work. While it may not be so obvious in the sense of garment design, many of my references of texture and colour palettes derive from contrasting elements of nature.
I have always been drawn to the most extreme aspects of nature, and how humanity can survive between the everyday life of a city, to some of the most remote parts of the planet.
gastt: Why do you think nature can be such a potent source of artistic inspiration?
Charlie Constantinou: Nature is a never-ending source of inspiration because it is out of the hands of humanity. It was here long before us, and will probably still thrive after us.
gastt: Definitely! You mentioned earlier that contrasting elements of nature have influenced the textures and colours of your work. Something notable about your pieces are the natural, biomorphic forms, coupled with some of the synthetic nylon materials you use. Why do you think there are so many interesting contrasts and juxtapositions present in your work?
Charlie Constantinou: The juxtapositions within my work are very much a reflection of the juxtapositions in my referencing. While many of the more natural forms within my work tend to be references from nature or periods of history, there is the contrast of modern day fabrication and functionality. This often results in the cross over of technical fabrications being combined with more organic textures.
gastt: You seem to be very aware of nature and the environment around you. I would guess that Sustainability is also an important part of your brand ethos and creative process, considering some of your manufacturing practices, and your utilisation of deadstock fabrics, etc.. Can you please describe your feelings on sustainability? How do you ensure that your work is as sustainable as possible, without limiting its accessibility?
Charlie Constantinou: I think it comes down to not over consuming - as I only source my materials in white / neutral shades, we do not build up endless amounts of stock, as any leftover materials from a previous season can be used again in the following season and still have a feeling of newness to them.
Even with any ready-made stock, if we were to have leftovers, there are many ways it can be reworked into something new, whether that is with dyeing, print, or another form of fabric manipulation. I think the balance between sustainability and accessibility is one of the main challenges for emerging brands in recent years.
gastt: I am not surprised by that, it seems very difficult to strike that balance effectively. Do you encounter similar difficulties in other areas of your creative process? For example, in this era of sustainability concerns and rapid technological advancements, how do you manage to balance traditional craft with forward-thinking innovation in your work?
Charlie Constantinou: I am somewhat old fashioned in some aspects of craft, I still do everything on paper. I have a sketchbook for each season, I still pattern cut on paper, write my daily to-do list on paper.
I try to reduce the amount of time I spend at my computer and engage more with the physical aspect of craft.
gastt: I think your commitment to craft and environmental consciousness translates to your pieces very well, especially in an era when the fashion industry is notorious for its volatile impact on the environment. Do you think the ‘sustainability’ trend in fashion is more about marketing, than truly enacting change?
Charlie Constantinou: On the corporate level of fashion, it is definitely a trend - it often does not amount to anything more than greenwashing. Even if a high street brand such as the likes of Zara and H&M claim sustainable practices, there will always be unsustainable elements of their production chain, whether it is the physical materials themself, or the unfair treatment of the people making their clothes.
gastt: Can designers truly make a difference?
Charlie Constantinou: I think real change will come from our generation - it is not about sacrificing everything you love for the sake of sustainability, but rather a more moderate sustainability which smaller brands have full control of. This can be as simple as not over producing or over buying materials, and using existing materials / garments as opposed to working with mills to weave brand new fabrics.
There are a lot of ways our generation can make a difference. It may seem smaller because we operate on a much smaller scale than corporate brands, but over time, as our generation becomes the older generation, I think we will be able to feel the change.
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gastt: I really appreciate your optimistic outlook on your generation's ability to effect change, and I’m curious to learn if this optimism extends to your feelings on collaboration. You have collaborated with various external artists and companies, like Icelandic performance brand 66°NORTH, Demon Footwear, and Jewellery designer octi, for instance. What kind of a role does collaboration play in your creative process, generally speaking?
Charlie Constantinou: Collaboration is a significant part in completing the full vision. While there may be various fields within fashion I already work in, there is so much more out there I have little to no experience with.
When I first discovered Demon footwear and met Alberto Deon (the creative director of Demon footwear), I really felt that I had found the footwear that completes my look. That relationship then continued to grow where both of our brands very much complemented each other and it became a very organic combination.
The same can be said for when me and octi began working together on jewellery. That is of course not my field of expertise, but was something that I felt was a crucial part of a look, even if it is not always the most visible at first glance.
When I began working with 66°NORTH after my MA, I knew straight away that this was the right team to work with. From the first moment I got to visit Iceland to see their archive, as well as spend some time in Icelandic nature, I felt a completely natural connection between my brand and theirs. It helped me to build a stronger sense of world building in the sense that we were designing with that landscape in mind.
But what really reassured me that we should partner with them was being able to have full creative direction on the two seasons we produced together. I felt that we were able to take some of the best elements of 66°NORTH, as well as new ideas from my side, and the outcome was a great fusion of the two.
gastt: I think they were all very well chosen as creative partners! How do you usually determine if a brand is a good fit with your creative vision, even if they work outside of the realm of fashion and apparel?
Charlie Constantinou: I think the best way to determine if a brand is right to partner with is down to alignment of values and vision, as well as a mutual respect and contribution.
gastt: That makes sense. I imagine that another element of collaboration you have to consider is not just 'what' you are creating, but also 'who' you are both creating for. Many people think designers should create for the masses, and many people think designers should create for a specific “person”. How do you personally approach this in your own work?
Charlie Constantinou: Something I struggled with a lot through my studies was actually finding who the ‘person’ I am making for is. I think that is something very ingrained into students during their time in fashion education - that you need to have a clear person in mind, or a muse in a sense.
When I really began to ask myself this question deeper during my time in MA, I came to the conclusion that it does not work for me in that way. I often designed for myself in a way, without sounding selfish. I would often make things in my own size so I could wear it and test it, but at the same time I never wanted to be the face of my own brand. I would often design for an anonymous person who could be anyone.
I always wanted my work to be accessible to anyone that wants to wear it, and I get a lot of joy from seeing people wearing my work, who you maybe would not typically expect to wear it.
gastt: I really value that perspective, and your desire for your work to be accessible. I think the fashion industry's embrace of social media in the past few decades has made fashion more accessible in general. However, in spite of the fact that a social media network like Instagram can be used freely as a platform for designers to showcase their work, it’s also a space where trends are born and die quickly. Do you think platforms like Instagram are enhancing or diluting the value of good design?
Charlie Constantinou: I think platforms such as Instagram have been a viable part of emerging brands building a global presence.
Generally I think a lot of smaller emerging brands, especially those designing with a very unique design language, often are already operating outside of the world of trends.
But of course, the quickness of trends appearing and disappearing so quickly is also a result of social media and a lack of attention span. In a way, this is a reflection of the whole system of Fashion week. Sometimes things can be in the spotlight one minute, and in the shadows the next. I think the focus within the fashion industry needs to steer away from these short spotlights, and support emerging designers on a long term level, not just in the moment.
gastt: I sense that you're touching on some of the downsides and difficulties of running an emerging fashion brand in 2025. As an emerging designer, what have been some of the biggest challenges you've faced when building your brand, and how have you overcome them?
Charlie Constantinou: A lot of the challenges in the early years just come down to mistakes, which you then learn from and contribute to stronger structure. Learning how to manage a production, wholesale, etc. are things I think you simply just need to learn from experience. I began my business with my MA collection completed, but very little knowledge on how to really operate a brand, a lot of which I learned along the way.
But definitely the biggest challenge in this current time for all emerging brands is financial, with the current economy and structure of wholesale as the main income for a lot of brands. I think we are starting to adjust to an era which is more balanced between working with physical stores as well as really connecting with your customers directly.
gastt: I think a lot of emerging designers will really value your transparency. Would you like to share any advice for emerging designers in regards to the business side of fashion, such as marketing, collaborations, networking, etc.?
Charlie Constantinou: Take the time to really learn where you want to take your brand if starting one. Not everyone needs to operate within the same structure - find the best that works for you and build from that.
Once you have built a solid structure which you are comfortable with, things will naturally evolve from there, with time and persistence.
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gastt: Thank you so much for your time, and for thoughtfully answering my questions. I'd like to end with one final quick question -
If you were staging a fashion show tomorrow, who are some musical artists that you would put on the soundtrack?
Charlie Constantinou: Hans Zimmer or John Williams.
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Interview Conducted by gastt Fashion / @_gastt.
Graphic Design / Layout by gastt Fashion / @_gastt.
Season 4.5 Runway stills by gastt Fashion / @_gastt.
All other images via @charlieconstantinou .
Special thanks to Charlie Constantinou and the Agency Eleven team for helping to make this interview happen!
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Season 4.5 Runway Credits:
Creative direction: @charlieconstantinou .
Styling: @charlieconstantinou .
Casting: @tidecasting .
Hair: lead by @matthewtharphair and team .
Skin: lead by @koseikitada and team in partnership with @bioeffectofficial .
Jewellery: @_octi .
Footwear: @demon____official .
Art Direction: @3eenkyung .
Sound: @nyc.taka .
Production: @blonsteinproductions .
PR: @agencyeleven .
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gastt: Hello George, thank you for answering my questions! To start, I’d like to learn a bit more about your background. As a designer from Georgia, how has your Georgian heritage influenced your aesthetic sensibilities and your approach to design?
George Keburia: Visual inspiration in terms of heritage is less noticeable in KEBURIA. I would say I have more frequently used socio-political protest messages in my items because the political situation in Georgia is quite challenging. It is a developing country with still persistent conservative views, so we have had various tops with gay prints, a dress from Cruise 2025 with “**** government” in response to Georgia’s latest democratic backsliding, etc.
But recently, Georgian musicians have been a great inspiration for me.
gastt: It’s interesting you say that your visual inspiration for KEBURIA is not overtly informed by your Georgian heritage. Something I noticed about your Autumn / Winter 2025 Collection was that it was presented outside of Georgia, and it was also your début on the London Fashion Week schedule. How do you manage to stay true to your Georgian roots while pushing boundaries across international fashion scenes?
George Keburia: It was quite difficult, but I tried to work right up until the last moment and create a memorable identity.
gastt: I think you did so very successfully! It seems like KEBURIA has grown significantly since it was founded in 2015. How has your creative process evolved over time, as you have expanded and introduced new elements into KEBURIA?
George Keburia: Over the years, my creative process has definitely evolved alongside the growth of the brand. I have gained a lot of technological knowledge, which helps me make decisions more efficiently and confidently from a technical standpoint.
I've noticed that I've become a bit more risk-averse than I used to be, and sometimes it brings moments of self-doubt and insecurities while working. I am trying to work on that issue. I would say my creative process is less chaotic today.
gastt: It’s interesting that you mention the technological / technical skills you have gained over the years, considering how you’ve successfully forged your own path as a self-taught designer. Based on your own experiences of working in the fashion industry, what would you say are the main advantages of being a self-taught fashion designer?
George Keburia: Being self-taught has definitely shaped the way I approach design. It’s given me a creative freedom that might have been harder for me to develop within traditional education.
Probably one of the biggest advantages of being self-taught was the drive it gave me. I didn’t have formal credentials to fall back on, so I had the urge to prove more than others my age. That pressure turned into motivation.
gastt: Have there been any disadvantages of being a self-taught designer?
George Keburia: Because of my non-traditional fashion background, I had to learn from scratch through experimenting and my own mistakes. I had to devise methods, usually creating pieces through trial and error. This taught me how to be patient with the process.
I had to learn everything the hard way, through mistakes, but that gave me a huge experience.
gastt: Did any of these mistakes ultimately teach you any valuable lessons about the fashion industry and your place within it?
George Keburia: Fashion is a slippery slope, one day you are there being celebrated, and the next, you might not be remembered by anyone.
One of the lessons I learned is that after any success, you need to work harder to prove the significance of the brand. After every win, the pressure increases. Otherwise, if you slow down the process, there's so much competition in the industry that the next day you won't be remembered by anyone.
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gasttHouse Interview Series # 7: George Keburia
For the seventh interview of the gasttHouse Series, I spoke to the fantastic George Keburia about protest, humour, and Surrealism (amongst other things).
While George originally hails from Georgia, KEBURIA débuted on the London Fashion Week Schedule in February 2025 with their Autumn / Winter 2025 Runway show.
You can check out more of George’s work on their Instagram, and website.
Make sure to check back on Mondays for a new interview with more incredible gasttHouse Guests!
***gastt: I can definitely understand that. I’m curious about how that pressure impacts the artistic side of your work, like the storytelling for example. Do you like to weave narratives through your collections, or are you more interested in individual concepts and pieces? Or maybe neither?
George Keburia: I think it's different every time, and really shifts from one collection to the next.
Lately, I've been thinking more about characters who on the surface seem to be all different, but still have some acquaintance with each other. That approach has made the process more interesting and exciting for me, and helps me with storytelling.
gastt: That is enlightening! Generally speaking, do you view your designs as more of a wearable art form, or do you have different creative goals? How do you find a balance between creating things that are beautiful to you, while still being wearable and functional garments?
George Keburia: Many exaggerated and sculptural pieces that we create for the runway are quite difficult to wear, and that's exactly what I love about fashion as an art form. I think pushing the boundaries of wearability has its own great charm. Anyone who is ready to take on a distinctive look should be ready for different feelings and a little discomfort.
It's often difficult for me to strike a balance between wearable and unwearable clothes, but otherwise it's difficult to survive and sustain business financially.
gastt: I must say though, I’m always happy to see the exaggerated and sculptural pieces that you create showing up on the runway. They are very imaginative, and seem to be informed by artistic movements like Surrealism. Are you influenced by fields of design outside of fashion, such as architecture, furniture design, visual art, etc.?
George Keburia: Whenever I travel, the first thing I look up is a local contemporary art museum. It’s almost a ritual at this point. I always make time to go. I have a camera roll full of those photos of artworks, exhibitions, and installations that moved me in some way. I want to remember the works of artists that I admire and I often return to them for inspiration when I’m designing.
I love to explore architecture as well. It shapes how I think about form, proportion, and structure in my pieces. I think that's why many of my garments lean toward the sculptural, or even surreal. I love creating shapes, atmospheres, and characters that feel dimensional.
gastt: I definitely think this eclectic mix of influences shines through in your work. Another element of your collections that piqued my curiosity is the palpable sense of playfulness and irreverence. Are things like humour and irony important to you?
George Keburia: Humour is a must for me both in everyday life and in work. The industry is quite stressful, and that’s the only thing that keeps me grounded and energised. Irony and humour are different perceptions of reality, sometimes very direct.
I think irony makes you more secure in fashion and strengthens you on some level. It’s also a way to connect with the audience on a more emotional, human level. I often enjoy balancing conceptual ideas with a playful tone in my work.
Fashion is a reflection of today's society, and designers have no right not to engage with their audience and fans. Humour can be a way of opening up that conversation. I think humour is my way to communicate.
gastt: When you consider that the fashion industry is often seen as very serious (and maybe even a bit elitist), do you think that humour and playfulness in fashion can be a form of rebellion? Do you see your work as a response or challenge to the seriousness of the fashion industry in any way?
George Keburia: I think the fashion industry used to be much more elitist and rigid. Over time, social media has broken down many of the traditional barriers to snobbish fashion. It made fashion more open and conversational.
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gastt: On the topic of creating more openness and conversation in the fashion industry, I’m curious to learn about the role that activism plays in KEBURIA. How important is activism to you?
George Keburia: Activism in art is important and even necessary. (20% of Georgian territory is occupied by Russia). I remember since early childhood that there have been demonstrations and protests in my country against the pro-Russian government.
Therefore, I consider myself obligated to express my protest in some way, whether it's a print on a T-shirt, or standing at a demonstration on the street.
gastt: Do you think fashion should play a role in shaping cultural conversations and societal change?
George Keburia: Fashion has always been political, as far back as I can remember, going back to the 2000s. It depends on the designer, and what they want to express. If they are not reflecting on the present in some way, I think they're just indifferent.
gastt: Should fashion hold up a mirror to the world, or should it be a place for fantasy, and an escape from reality?
George Keburia: I don’t see those things as opposites. Sometimes, fantasy can be a tool for critique. Sometimes, humour or irony reveals deeper truths. Ultimately, I think fashion should do both - hold up a mirror to the world, and imagine what that world could become.
gastt: It seems that you really value social consciousness. Is sustainability also an important part of your brand ethos? Could you please share some of the ways that you incorporate sustainable practices into your production process?
George Keburia: All KEBURIA ready-to-wear is locally handmade here in Tbilisi, which helps us to reduce the environmental logistical impact, as well as support the local economy. We always strive to minimize waste, in terms of both material sourcing as well as production in order to minimize our footprint on the planet. For this reason, we mostly practice the made-to-order model in order to control overproduction.
In order to make good use of deadstock materials, we usually donate fabrics to fashion students and small local artisans who struggle financially and who are unable to afford materials. Whenever possible, we try to source recycled raw materials and use environmentally friendly packaging, minimising the use of plastic. We recycle the packaging as much as possible to reduce the environmental waste.
gastt: I’m glad to hear you implement these practices in your production process!
While you are clearly committed to your environmentally conscious design philosophy, the fashion industry in 2025 is notoriously fast-paced. How do you manage to maintain your commitment to sustainable practices, in spite of the fashion industry’s constant demand for newness?
George Keburia: Keeping up with the pace is the hardest challenge in the industry. Society is always asking for something new, and you can't turn your back on them, otherwise you’d better quit. It's crazy, but finding some kind of balance is important in order to survive and remain sustainable in the long run.
gastt: Are there other things you would like to change about the fashion industry in 2025?
George Keburia: I think this constant reshuffling of creative directors is crazy. I would slow down this process a little so that the new appointments aren't announced after every other season.
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gastt: In spite of the challenges facing fashion designers in 2025, I think there have also been some positive developments in the fashion industry over the past few years. Are there any in particular that you would like to highlight?
George Keburia: As a positive development in the industry, I would emphasise inclusivity, the success of black designers, and the broader generational shift happening in the industry. There’s more space now for diverse voices, new narratives, and fresh approaches to what fashion can be.
gastt: It’s reassuring that you are so committed to your principles and to social consciousness at this stage of your career. Do you have specific goals for the future you’d like to share?
George Keburia: When I think about future plans, my focus is always on the next collection, and then the one after that. I'm currently finishing a cruise collection, and I'm preparing for the upcoming runway show at London Fashion Week in September. Creating four collections a year is incredibly demanding, so my immediate goals are very much centered around my work.
gastt: I can definitely understand why your primary focus would be on your own brand right now, but would you take a creative director role for a large fashion house if offered? Or would you prefer to move away from the traditional fashion system?
George Keburia: There are certainly a few houses I admire, especially those with a strong sense of identity and a history of taking creative risks. But for now, my priority is KEBURIA.
gastt: I’m glad to hear that you’re so dedicated to KEBURIA, and I think the strength of your collections reflect that. Besides commercial success, how would you define success for KEBURIA?
George Keburia: For me, success goes far beyond high sales. Of course, the commercial side is important, but real fulfillment comes from building a sense of community around my work. I am happiest when people connect with what I create, whether it makes them feel seen, inspired, or provokes a reaction.
Seeing people wear my designs in everyday life or when my work becomes part of someone else’s story, that’s the greatest reward. The sense of dialogue and impact is what I would define as success.
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gastt: Thank you so much for your time, and for your openness. I’d like to end with a quick question. Using just 3 emojis, could you please give us a hint of what the next KEBURIA collection will look like?
George Keburia: 🎀🌈🫧
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Interview Conducted by gastt Fashion / @_gastt.
Graphic Design / Layout by gastt Fashion / @_gastt.
Autumn / Winter 2025 Runway Credits:
Creative Director: @george.keburia .
Stylist: @claudiaasinclair .
Casting: @emmamatell .
Makeup: @alicedoddsmakeup .
Hair: @ryonarushima .
Production: @arlenemfaller .
Lighting Design: @hydradesign__ .
Music: @skazz2702 .
Spring / Summer 2025 Runway Credits:
Opening: @quintessennce .
Styled: @spookyfrau .
Music: @creams.creams .
PR: @agencyeleven .
Other images / videos by gastt Fashion / @_gastt .
Special thanks to George Keburia and the Agency Eleven team for helping to make this interview happen!
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gastt: Hi James, thank you so much for speaking with me! Just to start, I’d like to ask a very broad question about embroidery. What are some of the key things about embroidery that appeal to you?
James Merry: I love the fact that embroidery is "off the grid", unlike a lot of other textile practices such as knitting or weaving, where you are always counting in rows and columns. With embroidery, you can just go wherever the needle takes you. I love how small and portable embroidery work is - you can scrunch it up in a bag and just carry a few needles with you to work. I like the fact that by embellishing something, you are also making it stronger. I appreciate the focus and attention to detail that it requires. And I love the sound the needle makes when it goes through the fabric, too.
gastt: How did you initially become interested in embroidery? Did your educational background in academia shape your path in any way?
James Merry: My father is a vicar, so I grew up around lots of ecclesiastical embroidery. I remember being really obsessed as a child with some of the church vestments, especially the direct connection between plant / animal symbolism and the spiritual realm.
I probably should have gone to art school, but my mum and older sisters are all artists so I think it felt too familiar, and I decided to study ancient Greek instead. That was a bit of a wildcard to be honest, as I had to learn it from scratch having not studied it at school. But I did actually start embroidering during those university years, mostly just for birthday presents for my mates. I’d stitch their favourite singer or musician onto a shirt.
gastt: What are some of your earlier projects that stand out to you?
James Merry: The first thing I properly embroidered was that Nike sweater with the Icelandic flower sewn onto it, and I made that in 2015 - which was fairly late to start making work. But I’m finding more and more now that my university studies and interest in the ancient world does inform my process a lot. I always want to understand the etymology, symbolism, and historical aspect of the references I bring into my work.
gasttHouse Interview Series # 6: James Merry
For the sixth interview of the gasttHouse Series, I spoke to a master embroiderer, mask maker, jewellery designer, and Björk's longtime co-creative director - James Merry!
James Merry is a visual artist originally from the UK, and is now based in Iceland. Through his work, James has developed a distinct and idiosyncratic visual language of his own that translates fluidly between the digital and physical worlds.
Whether he's embroidering Icelandic plants onto vintage sportswear or creating otherworldly wearable art pieces, James' work never remains static - each piece is a dynamic extension of the wearer.
James was generous enough to discuss a wide range of topics with me, including the origins of his affinity for embroidery, his creative collaborations with Björk over the past decade, and Blóðberg.
You can check out more of James' work on his Instagram, and his website. Some of his pieces are also currently available for purchase on the Dover Street Market e-shop. Make sure to check back on Mondays for a new interview with more incredible gasttHouse Guests!
***gastt: Actually, you are kind of touching on something that I was going to ask you about. You were saying that you’re a very research-forward person. How much research and planning do you typically do before executing your ideas?
James Merry: I do a lot of research - probably 90% of my time is spent reading into something, then the making is often quite quick. I find myself obsessing over a specific form or concept for a long time and this builds the foundation, but isn’t about creating a rigid plan.
Once I go into the studio, I try to clear my mind of references and let my hands take over. My making process often feels more like an excavation than a creation. I try to feed myself all the right ingredients, and then get out of my own way so I can uncover something that's already there, hidden beneath the surface.
gastt: How much planning goes into working with some of your preferred materials, like metals? How malleable is metal as a material? Do you have to sketch ahead of time?
James Merry: For my metalwork, most of the planning is done via prototypes made from card or paper. I will make hundreds sometimes, trying out slightly different versions for each mask, refining the line work and curves each time until I'm ready to commit them to metal. I think I approach metalwork a little like a textile - as I always tend to use sheet metal, what I essentially do is quite close to pattern cutting - just with metal instead of fabric.
There is also the strange fact that all of my metalwork pieces are cut from one piece of metal - I never join or solder two pieces together. So, it becomes a sort of game - how can I make this complicated shape fold out from itself in one small piece of metal? That part of it can take weeks and weeks, because I’ll be going back and forward with prototypes trying to make it work.
I realised recently that when the final piece is made from one continuous piece of material, it feels much more organic to me - it behaves more like something that’s grown in nature. Rather than joining lots of bits together I am usually trying to make one solid form, like a bone or a flower, that has grown out from itself.
gastt: You have been working as a co-creative director with Björk for quite a while. I guess that traditionally, working with embroidery is a solitary activity. How is it for you to exchange ideas and hash things out with another person? Is that helpful for you, or is it more challenging for you?
James Merry: The actual making process in my studio is very solitary, yes - I like to take things away into my little shed and figure things out there on my own. But all the stuff before and after that is always very collaborative, and I love that part of it. We’re often collaborating with a few different people at a time - whether it’s a music video, or a tour, or a photoshoot, those are all obviously really collaborative.
But when I’m working out a design - I always need complete privacy for that. I usually don’t want to show anyone what I'm doing until I at least have a functioning prototype ready. We’ve done a couple of projects where I’ve had to send drawings ahead of time, and I always find that quite stressful because I usually don’t know how something is going to turn out until I’ve made it.
gastt: Your visual language and Björk’s seem so closely aligned - do you find that the masks grow out of shared instincts, or is it more that you’re each bringing separate threads that end up weaving together?
James Merry: It’s probably a bit of both, and different for each individual mask. Some of them have been made to fit into distinct album references and themes that come from Björk, while others are more inspired by concepts I have developed separately. But in general, we are usually in sync with a lot of stuff, so it takes a lot of the guesswork out. I am usually working on ideas and experiments independently in the background, and then when she mentions something I’ll often think, ‘Oh, I have that weird half-finished prototype, maybe that would work for that.’ And then I’ll show it to her, and it will just weirdly fit with where she’s at, and then I’ll work on developing it into a proper final piece.
So yeah, there is quite often a happy coincidence where we have both kind of gravitated in the same direction at the same time.
gastt: Would you say that you receive a lot of abstract ideas and references from her, or is your communication more explicit? How do you translate the ideas and references you receive from her into the pieces you’re working on?
James Merry: I’d say it’s not so abstract - the references are usually really, really specific! She will have clear visual signposts for what each album or song looks like. So it will be very distinctive colours, and corresponding textures too. But then obviously the job for me is always to take those references away and interpret them in my own language, choosing to focus on the parts of them that I find most inspiring or applicable to my work.
gastt: Something else I was hoping to ask you about was in regards to the particular kinds of textiles you often work with. One of your early collaborations with Björk was the ‘Family’ Mask. I find it interesting that you were working with latex, but also wool thread (and even CGI Pearls) for one single piece. I was wondering what the impetus behind that creative choice was?
James Merry: It’s funny you would ask about that piece, because it’s actually the first mask I ever made for her. We were shooting the ‘Vulnicura’ album cover on her birthday and I had made it as a present, and she ended up wearing it on the shoot. I can't really remember deciding to make a mask - I think it was originally going to be an embroidered chest piece, until I realised I could add some ear holes on the side so it could be worn over the face too.
That mask is probably one of the best examples of how her specific references are incorporated. She had very precise colours for that album (the soft lilac and fluorescent yellow) and had been buying the lilac latex to make dresses out of. So, that mask was made from a cutoff from some of that fabric that I had found lying around. She had also talked about these very small creeping Icelandic plants as a reference, so I decided to embroider blóðberg (a kind of arctic thyme that I love) in the corresponding yellow colour, but I decided to use a fluffy fluorescent wool as I thought it would make an interesting contrast with the shiny latex.
gastt: Is there a particular reason why you often work with these juxtapositions, and these interesting collisions of textures?
James Merry: I love embroidery because it comes with so many associations that we have attached to it - (supposedly) being very domestic, or feminine, or folksy, etc. So, I enjoy the fact that it has this inbuilt quality and aesthetic that is very easy to subvert. I probably use colours to try to emphasise that sense of subversion with unexpected palettes, often almost ‘digital’ colours if that makes sense, or by embroidering onto unorthodox materials.
I only realised years later that I very rarely just do a straightforward embroidery - making a design and working onto a blank piece of cloth. I am always embroidering into something else, almost like my embroidery is graffiti or some other form of embellishment. For example, the embroidered sportswear pieces were always about the clash between machine and hand embroidery.
And with the embroidered Björk masks, those are often about embellishing or decorating a 3D form that I have already built in some other material.
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gastt: I’m really curious about your experiences creating digital pieces, and your interest in developing AR filters for Instagram. What do you find rewarding about creating and sculpting pieces in a digital space? Does working digitally open up creative possibilities that are not feasible when you’re crafting and embroidering pieces by hand? Do the digital and physical mediums complement each other?
James Merry: For sure, I think they complement each other very well. I’ll often structure my day so I do digital work for half the day, and then in the afternoon I’ll go into my studio and work with my hands.
I had only just started making masks when AR filters began to appear, so it was good timing and I was keen to learn how to build them myself. I initially saw them as a way I could make my physical masks wearable for people online, but then I started to make designs that only existed in a digital form. I have never really figured out how to put any of my designs into production (and not sure if I would really want to do that anyway). But by that point I had been getting so many requests from people to buy them, so I thought making filters could be a nice way to make them wearable, for everyone and for free.
I also think that there is an intrinsic aesthetic connection between my physical masks and the digital world. I always like my physical pieces to look like a strange blend of hand craft and CGI - I want them to float around the head, and look like they’re growing out of the face. So, obviously once I started translating some of those designs into the digital world where things can just float freely, it just matched up really well.
gastt: Is there much of a dialogue between the digital and physical worlds in your creative process? Do you move quite fluidly between them?
James Merry: Yes, the initial designs for a new mask will often happen digitally and physically at the same time. I will make paper prototypes, but also 3D sculpt the form and go back and forth between the two. Something that I learn in one world, I’ll take into the other one and keep developing it there.
The way I sculpt things digitally is also very much informed by how I make things physically. Similar to my metalwork, in the digital world I’ll often start by making flat planes, which I will then bend and shape. So, the way I digitally sculpt is probably quite weird if you were to show it to a proper technician, but it feels intuitive to me as it is very close to how I work with my hands.
gastt: Do you find that certain ideas work better in certain mediums?
James Merry: Yes, sometimes there’ll be a moment where I’m not sure if a design is going to be digital or physical. I did one particular mask that was inspired by stingray skeletons. That was the first one that I designed digitally, and then I thought, ‘oh, I’m going to try to make this physically instead’. I always felt like it worked better digitally than physically, but it was the first time I properly made something digitally first, and then tried to recreate it physically.
gastt: On the topic of physically recreating digital designs, I’d like to learn more about your utilisation of 3D Printing. What initially drew you to using a machine like a 3D printer, especially considering that much of your earlier work was handmade? Why did you see so much potential with this particular tool?
James Merry: I think it was a natural step after I’d started learning to sculpt stuff in 3D. All my metalwork up to that point had been made from sheet, which I love working with - but I was ready to give more volume and dimension to some of the flat forms.
However, the main impetus for 3D printing was more about the materials. I started seeing some resins that I really liked, with great translucency and an organic feeling that I was eager to play with. For example, the ‘Ossein’ mask and the pieces I made for Björk to wear at Coachella. I had seen some resins that looked like bone cartilage, with an interesting opaque quality that I couldn't get with metalwork or embroidery. We were on tour in Japan at the time, so I contacted the brilliant Kaoru Sugano and we worked with the team at Secca, who created this incredible finish on the 3D prints.
gastt: Are there elements of the 3D Printing process that people may not be aware of?
James Merry: I think people often have a misconception about 3D printing, that it’s a shortcut - you just click print, and then it spits it out the other end. There is a lot of work that needs to go into them - both before and after they have been printed. It’s a very specific skill to make files that a 3D printer can read well and print without issues. So, by the time you’ve actually sculpted something digitally, made a file that the printer can read correctly (often the print fails many times), then all the physical sanding, polishing, and finishing of it afterwards… It can take a lot longer than just making something by hand.
So, I tend to only do it when there is a material that excites me, or a design that really requires it.
gastt: Do you have to make big changes to your general creative process when you’re working with 3D Printers? Because, in a sense, you have to really commit to a final idea before printing it. Or, does the amount of post-processing and finishing involved with 3D Printing allow it to feel like a natural extension of your creative process?
James Merry: Yes, the bulk of the work goes into the 3D sculpting and preparation of files, and then once that is decided, you are less free to change things as you go. So, when I am working on a 3D print, I usually disappear into my laptop for weeks or months, getting the sculpt as ready as I can before I will even think about printing prototypes.
I made a lot of 3D printed masks for Björk’s ‘Ancestress’ music video - for Björk, and all the dancers and musicians too. So, it worked very well in that instance, especially because I always just work by myself, without a team or assistant. I could spend a lot of time up front getting the designs ready, and then print multiple versions of them.
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gastt: Continuing on the topic of technology, I noticed that you have incorporated A.I. into some of your projects. I also know that Björk has previously worked with an ecologically conscious A.I. model. Why did A.I. appeal to you as a creative tool? Does it connect to the digital aspects of your work in any way?
James Merry: Yes, I was curious to understand how it worked a few years ago, when it was still quite early in its development. I only really dipped into it for some specific ideas and then went back to my hand craft. But in general I think there probably needs to be more distinction about what people mean when they say ‘A.I.’, as it has started to be used as a catch-all term that doesn’t necessarily reflect the differing ways and levels it can be used.
gastt: Are you aware of the concerns people commonly express about A.I.?
James Merry: Oh yes, and I agree with a lot of the concerns - especially the unlicensed use of other people's artwork to train models, and of course the environmental impact.
But I am slightly cautious about condemning anyone who decides to integrate it into their work. It’s odd that people will focus on artists who are often using it in minimal and creative ways, instead of the more insidious places where it is being used much more aggressively (military, surveillance, etc). People seem very eager to police each other about it, without necessarily understanding how and to what extent it is used. And a lot of those critics are often doing so from devices or lifestyles that are just as damaging (environmentally or otherwise), often using A.I. a lot themselves directly or indirectly, without knowing it.
So, I guess my biggest problem with A.I. is not if someone uses it, but how they use it. 99.9% of the A.I. things you see are so ugly, because it is being used in a really unimaginative and lazy way. The generic stuff appears when people aren’t doing any sort of clever inputting, editing, or post-processing - they’re just taking the first thing that the algorithm makes with no attempt to translate it into their own visual language. I think it is really interesting now that we are starting to see people work with A.I. in their own idiosyncratic way, and you can tell it’s their brain calling the shots, and not the other way around. It's more about how you use it with intention and creativity, and balancing any negative impacts with how you live the rest of your life.
gastt: What are some aspects of A.I. and similar technologies that you find to be interesting, or creatively stimulating?
James Merry: One thing I found interesting with the early text-to-image stuff was the overlap between word and image, and the use of language. My immediate impulse was to try and deliberately confuse it - I realised that if the machine didn’t completely understand what I was saying, it would make something much more visually interesting to me. So, when I looked back at the prompts I was feeding it, they were so bizarre but quite abstract and lyrical.
When we worked with VR a few years ago, some of the developers noticed that the first thing I would do when I put on a headset would be to look for the seams and find the faults. I’d get on my hands and knees and try to confuse the headset, find the places where things were stitched together, etc.
So, I think that's just how I usually approach new tech - I always immediately look for the glitch in it, and notice where the accidents happen. At the moment, I happen to be more interested in making physical things with my hands, but I’m always conscious about not immediately condemning new technology by default. Or, at least I usually want to teach myself how something works first, so I can be in a better position to be properly critical of it.
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gastt: I really appreciate your optimism, and your openness to the idea that new technological developments can add to your creative process. Looking forward, how do you see your creative process and output changing? I know that you released your first jewellery collection recently, which is available for purchase at Dover Street Market London. Why did you wait until recently to make your work available for purchase?
James Merry: My work making masks has been pointing me in the direction of jewellery for a few years now, especially since a lot of my recent headpieces have been made from silver and metals. I’ve never really made my work commercially available, mostly because I’m just cautious about mass producing anything. So, this was my first time doing that and I decided to just keep things as small scale as possible, with a focus on quality and craft.
The design of the rings and the earrings relate to objects that I made for Björk’s Fossora album cover in 2022 - in which she is wearing an early prototype of the ring, and the ‘Völubein’ shoes (which I replicated in miniature for the earrings).
A big part of it was the opportunity to work with an incredible foundry in my hometown in the UK - Pangolin Editions, who cast the rings. I can walk to them from my parents’ house for our meetings, down through a beautiful forest. So, it felt like a really sustainable and happy way to do it. It's the first time that I have given my designs to someone else to make, so I'm really glad to have done it with them.
gastt: Why do you think you ended up creating jewellery for your first collection, rather than masks? Or even embroidered art pieces?
James Merry: I did sell lots of embroidered sweaters before, so I would probably consider those my first collection. But I think jewellery felt like the next step, mostly because I knew that Pangolin could make them so beautifully and with a real expertise to their craft.
Everything I make always tends to end up on the human body - my embroideries are worn, my illustrations often end up as tattoos, my masks obviously adorn the face. So, I think part of me was just really excited to move away from the face and adorn other parts of the human body.
Almost all of my projects come about by accident, like the embroideries and the jewellery. I am usually just making something for myself to wear, with no thought about turning them into a commercial enterprise. A lot of my drawings or designs are things I have made as presents for people in my life. It's only afterwards that I might realise that I could make a few more, or develop them further when other people seem interested in them.
gastt: Would you say that you’re concentrating mostly on jewellery at the moment, or are there other projects on the horizon?
James Merry: I have a few plates spinning at the moment: some more jewellery ideas, some new masks, some exhibitions and publications too… I work by myself on all aspects of my output, so things take me a long time to actualise!
gastt: Are there any new influences or ideas you are fixating on right now that relate to your new ventures?
James Merry: Yes, I think I’ve shifted recently into a new phase of work. This last year or so, I have been almost exclusively reading and researching a particular period of history - the Iron Age in Britain (just before and after the Roman conquest). So, I’m making these new masks that are much more explicit nods to my archaeological obsessions, and maybe less about biology or anatomy than my previous ones. I’ve already made one of these new masks - called the ‘Nodens’ mask. And then I’m making two more to accompany it in an exhibition this summer in the north of Iceland. So, I guess in general, that’s where my head’s at more now - less about flowers and birds and bones, and more about historical artefacts and archaeology.
gastt: I did notice that you worked on a pair of shoes for Björk’s ‘Fossora’ album cover. Are those pieces indicative of the ideas you’re interested in at the moment?
James Merry: Yeah, definitely. Those were actually inspired by some shoes I saw in Ireland at the National Museum in Dublin. Actually, I’m quite proud of those shoes because they were so complex to make and I had been wanting to design a pair of shoes for ages.
They also marked a very conscious shift in my output, where I was wanting to elevate the materials I was working with. A lot of the early masks are all quite crafty - I was often just using plastic, and very cheap wire, and whatever bits I could get my hands on. Which is fine, but I got a bit more conscious of that and wanted to start using pure silver, natural materials, wood, etc.. Something where the material was intrinsic to the design.
So, for those shoes, I was imagining if they were found in a grave, or buried - I would want them to decompose. They were made from wood and silver and basalt rock. Even when I was staining and polishing the wood, I only used charcoal and beeswax. So, they were just completely made from natural elements that might be found in Iceland. But they were definitely my first step in this new direction, where I was starting to think archaeologically, too.
gastt: I’m so excited to see how you develop these ideas. They always stood out to me when I first saw them. They seemed like such an interesting expression and extension of your distinctive visual language.
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To conclude our conversation, I just would like to express my thanks to you for speaking with me. You’ve been so, so generous with your time. This was such an insightful conversation for me, and I really enjoyed hearing from you.
I’ve been an admirer of your work for so long. I distinctly remember seeing your Nike top with the Icelandic flowers embroidered on it probably a decade ago, and it made a lasting impression on me. I still detect your influence on a lot of pieces I see these days. You’ve had a lot of impact, and you’ve made a dent in the culture, as they say!
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Interview Conducted by gastt Fashion / @_gastt.
Graphic Design / Layout by gastt Fashion / @_gastt.
Media via James Merry.
Photography Credits:
Tim Walker: Greenman Headpiece for i-D.
Viðar Logi: Ostra Mask, Björk for Vogue Scandinavia, Sacrum Mask.
Santiago Felipe: Moth Mask, Ghost Orchid Mask.
Andrew Thomas Huang: Björk 'Family' Mask.
Fee-Gloria Grönemeyer: Iris van Herpen Lookbook.
All other photos by James Merry.
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gastt: Hi Constança, thank you very much for answering my questions! To start, I’d like to ask about your work broadly. I noticed that many of your pieces have a handcrafted quality to them, yet they still reflect a clear and strong creative vision. How much research and planning do you undertake before you actually start to create your pieces?
Constança Entrudo: A lot. Besides the technical and textile-focused side of my work as a designer, my work is a lot about storytelling and bringing humour to clothing. I’m obsessed with people, fantasy, and with process - with sharing narratives continuously, collection after collection.
gastt: Is there a typical timeline or trajectory you follow when designing your collections?
Constança Entrudo: For every collection, I spend months researching on a topic. Then I start to think, “how can the materials that we’re wearing communicate those stories?” And then I start exploring techniques that can translate it, and sample making. A lot of sample making.
During this research process, I write a lot too. I’d say one of the most interesting and challenging parts of the process is to translate these written references (all my notes, a book, an article, a song) into visuals and textures that communicate through touch. Only then I start working on the prints, one of the most essential parts of my work — [ they are ] usually handpainted or handcrafted (photography, collages, etc), and then digitised to portray those narratives.
gastt: In addition to incorporating narratives and storytelling into your work, you also mentioned that you want to bring humour to your pieces. What kind of a role does humour play in your creative process?
Constança Entrudo: A big, big role. People often take themselves too seriously, and high fashion is frequently a way to appear more 'proper', or to hide our flaws.
For me, humour in fashion isn’t about using pop elements or weird proportions; it’s about making people question what’s wrong or right, what’s ugly or beautiful, and Who They Are to judge that. It’s obviously about making people more conscious and empowered, but also more aware of our differences.
To laugh at ourselves makes us less precious about our existence and appearance, leading to greater freedom and understanding. The world needs more understanding and tolerance.
gasttHouse Interview Series # 5: Constança Entrudo
For the fifth interview of the gasttHouse Series, I spoke to one of Lisbon’s boldest and most idiosyncratic designers, Constança Entrudo!
Constança was raised between Lisbon and Madeira, and later moved to London to study Textile Design at the prestigious Central Saint Martins. While she has previously worked for Balmain and Marques’Almeida, she now brings her singular perspective to her eponymous brand.
You most likely have seen her pieces before, considering that superstars like SZA, Kali Uchis, and Chlöe Bailey have been spotted in her looks. However, Constança has also developed a loyal following, drawing in many with the humour, craftsmanship, and technical innovation that define her work.
Throughout this interview, Constança generously offers her insights on a wide range of topics, from the work of Henry David Thoreau to The Devil Wears Prada.
You can check out more of Constança’s work on her Instagram, and the Constança Entrudo online store. Make sure to check back on Mondays for a new interview with more incredible gasttHouse Guests!
***gastt: Definitely. It really seems like there is a huge amount of intent and thought behind every single creative choice you make. Do you also leave some room in your design process to experiment and improvise?
Constança Entrudo: Experimentation and intuition are part of what we do all the time — absolutely. I don’t know any other way to play and innovate with fabrics and materials without them. Obviously, these processes involve embracing unpredictability. However, when it comes to improvisation, it’s tricky to take that approach in the fashion industry as it’s built today. It requires a lot of planning in advance, time, and trial and error.
gastt: Even though you need to plan things far in advance, I think you manage to preserve an organic quality in your pieces. When I reflect on your entire body of work, it seems like you often diverge from many of the traditional Western ideas of “perfection” that the fashion industry tends to prioritise. For example, my eye is often drawn to your “un-weaving” technique, the distressing of garments, the asymmetry, the deconstruction. Would you say there is a philosophical or symbolic reason behind this? Or do you simply find these kinds of “imperfections” attractive or interesting?
Constança Entrudo: There’s a strong message behind this technique, which is the philosophy of our brand, this idea of “un-weaving" — where one element leads to another, and stories emerge by rejecting the loom and its traditional structures.
As a textile designer, I’ve explored the main mediums: weaving, knitting, and print. I love weaving, but the loom’s structured approach — especially the weft — felt limiting. Traditional weaving interlaces two sets of yarns at right angles: the warp and the weft, but I wanted to break free from that constraint. So, I started developing this technique that aims to deconstruct pre-existing weaving fundamentals by creating a distressed-looking fabric where all threads look loose — free.
It results from a process involving bonded threads (warp only), all meticulously made by hand, thread by thread, woven directly on the pattern piece to create as little waste as possible. These pieces take over a week to make.
This handcrafted process might have a very imperfect look. However, it comes from a long process of research and technology.
gastt: Given your focus on minimising waste through the techniques you've developed, I’d guess that sustainability is a big part of your brand ethos and creative process. To what extent would you say this is true?
Constança Entrudo: I’d say when I started the studio and this un-weaving technique, the idea was to only use repurposed materials (especially yarns). I used to get loads of bin bags to my flat in London with leftovers and waste yarns from the factories in Portugal, and some London studios.
However, some of these methods were left aside following the growth of the studio and buyers’ / the industry’s demands, and its preconceived ideas on materials, and what's commercially acceptable or not. We introduced a lot of new ways of producing, and materials that were not as sustainable.
gastt: Did you feel pushed to make certain sacrifices due to the pressures of the fashion industry?
Constança Entrudo: I'm not blaming the industry, as it was my choice to want to grow this way. However, in the past few years I've been trying to go back to a lot of these processes and find partnerships with factories in Portugal again to develop this circular process into something bigger.
For me, it’s not about using existing fabrics, as I don’t find it stimulating to work with pre-existing designs or repurpose materials from other brands. It’s about rethinking materials that were destined to be discarded and finding ways to turn them into fabrics.
gastt: Is it difficult for you to strike a balance between your commitment to sustainable practices, and working in ways that are creatively stimulating?
Constança Entrudo: One thing does not compromise the other. But somehow, there’s that idea in high fashion that sustainable materials are less cool, or will give a weird look to the designs. There are so many options out there. Sometimes it's more of a budget question than aesthetics.
gastt: Speaking of budgets, I would love to hear more about sustainability from your perspective as an independent brand. What are some of the ways you incorporate sustainable practices into your work and production process?
Constança Entrudo: We’re making our best effort to use monofibers, reducing the synthetics percentage in each collection, and using mostly recycled or organic. It’s not the easiest as we’re small scale, but we try.
When it comes to production, we try to engineer all fabrics (printed, woven, knitted) to the pattern pieces, so we create minimum waste. We usually work with very small stock, mostly made-to-order or by testing the demand on social media / different platforms before sending things to production.
gastt: Are there other things you consider when striving to create in a sustainable way?
Constança Entrudo: Sustainability for me is also about making people feel included when thinking, wearing, or working with us. We produce prototypes of all sizes, and also produce sizes from XS to XXL. We give creative space and a voice to everyone involved in the process of making our collections, and engage with universities and schools in Portugal to promote and inspire younger designers.
We try to give as much detail on how to wash our pieces through the care labels. Durability is so important, and it is so difficult to educate people on this - we’ve been putting a lot of effort into this.
gastt: I think you’re touching on some of the challenges that many brands encounter when attempting to create in a more sustainable way. How have you dealt with them?
Constança Entrudo: I actually enjoy working with limitations and challenges. Adapting designs to the material’s nature and characteristics makes the process more interesting. It’s all about testing, researching, and finding solutions. In the past, we faced issues when a prototype made in one fabric didn’t match the recycled version used in production, so we learned to test, test, test - to avoid surprises.
Obviously cost is definitely the biggest challenge — sustainable materials still come at a higher price.
gastt: How do you ensure that your work is as sustainable as possible, without limiting its accessibility?
Constança Entrudo: We try our best to also integrate these organic, recycled, etc. materials gradually so our prices don’t go up all of a sudden. It’s tricky, but for SS25 we’ve managed to reduce the synthetic fibres a lot. It helps that we’re based in Portugal, and we have this proximity to factories.
gastt: Do you find it frustrating when customers expect low prices, in addition to ethical manufacturing practices?
Constança Entrudo: I feel like there’s loads of brands in the market, all with highly competitive prices, and many claiming their products are responsible — that’s the tricky part. People just need better information, as there’s not much relevant content out there. I don’t blame big brands and platforms for not promoting sustainability, but it would be great to see more about making clothes last and why that matters. Encouraging curiosity about who made our clothes and the conditions behind them is key. It’s hard to understand how fast fashion is still a thing…
gastt: How do you differentiate between legitimately sustainable practices, and greenwashing?
Constança Entrudo: I think it's about focusing on our client-brand relationship and having a real conversation, rather than just marketing strategies and using key words to tick the box.
I’ve recently been very obsessed with all these marketing campaigns, especially with fast fashion / lifestyle brands. I find it so funny [when I’m] going through the streets and [see] “100% transparent”, “conscious”, “organic, “repurposed” popping in any brand's window selling the most random products. Sometimes it's better to say the minimum possible, and just actually make the best effort possible to minimise the impact, the most natural way.
gastt: As a complement to your environmentally conscious practices behind the scenes, there are often many natural motifs visible in your work. For example, the prints in your SS25 collection, and the Seastar Prints from SS24. To what extent would you say that nature and the natural world influence your work?
Constança Entrudo: It's funny because I consider myself a 'city girl.' I love big cities, the energy of people - I don’t seem to mind the fast pace. However, my collections often explore the idea of escape, particularly through empty landscapes, highlighting this dichotomy.
Before the pandemic, my prints were more abstract. This is when I started with the natural motifs, with this idea of nature with no human intervention, of the passage of time - how in a way, nature keeps evolving with or without us, but the other way around doesn’t happen.
During the pandemic, I read a Guardian article titled ‘We Are All Edward Hopper Paintings Now’ [by Jonathan Jones], which explored how Hopper's empty cityscapes and isolated figures resonate with the loneliness and alienation of modern life, and how the pandemic has given his work a terrifying new significance.
This inspired me to look at nature almost as a voyeur, collecting images and crafting beautiful landscapes that make us pause and reflect: when the freedoms of modern life are removed, what’s left but loneliness?
gastt: How do you see this perspective on nature manifesting in your work?
Constança Entrudo: I enjoy playing with the contrast between natural and human-made elements. For SS25, we explored this tension through the idea of a soul seeking salvation in an idyllic beach setting — someone diving underwater to drown — a visceral, almost self-destructive search for escape (the collection name is "SOS"), and ending up in the ancient seas of the Cambrian period. Many of our prints used striped cotton resembling beach shirts, printed with sea motifs to capture the feeling of sinking underwater, fully dressed for a beach day.
As the prints were crafted from a very old issue of Life Magazine, we tried to manipulate denim through embroideries that mimicked aged paper, and printed the sea landscapes on top. It's always about this duality between humanity and nature.
gastt: Why do you think nature can be such a potent source of artistic inspiration for you?
Constança Entrudo: It reduces us to our own insignificance reminding us of how small we are in the grand scheme of things. I think it’s important to bring that thought once in a while to fashion.
And also, I’m from Madeira…
gastt: Speaking of dualities between nature and human-made elements, it seems that you often engage with technology in interesting ways as a part of your creative process. How do you preserve the craftsmanship and artisanal qualities of your pieces, while also working with innovative technologies?
Constança Entrudo: I think they have to go hand in hand - always. Technology is not just a monster - it’s also here to make our lives easier, make our days more efficient. I believe in craft so much, in people too, but above all I believe in creativity, in design - in making new stuff, generating ideas.
Handcrafted processes take so much time that a lot of times, people that work in craft don’t have the opportunity to learn about design processes, to think, to be intellectually stimulated through work. That’s very important for me: that everyone around me has the freedom to think, to think critically on what they’re doing.
gastt: How have your experiences working with artisans been, considering that they often work in a more traditional way?
Constança Entrudo: We’ve done a lot of projects with artisans where we always try to bring technology at some point of the project. But it's so difficult, as institutions are so protective of craft and romanticise it a lot of times in a delusional way. They create this idea that craft people don’t want change, but they just don’t allow artisans to be exposed to innovation, to creativity, to making their jobs a little easier.
We did some collections and projects in partnership with Madeira Embroidery - a very well known embroidery technique from the island where I am from. We tried to involve artisans in our processes, to simplify some steps of the process with technology, and it seemed so difficult in the beginning. By the end, it was great. At the end of one project, an artisan confessed to me, 'I have to admit that with this project, I realised that what’s right and beautiful for me may not be the same for someone else.'
This realization, while seemingly obvious, was quite profound. [It] made me realize how we often take the freedom of thought for granted.
gastt: Looking forward, how do you see the relationship between humanity and technology developing? Are you more optimistic, pessimistic, or neutral overall?
Constança Entrudo: I used to be overly optimistic about technology — I saw it as machinery that applied scientific knowledge. I was almost like living the legacy of the Space Age dreams.
But recently I've been more aware of its limitations. I read this line in ‘Walden’ by Henry David Thoreau the other day: 'Our inventions are wont to be pretty toys, which distract our attention from serious things. They are but improved means to an unimproved end, an end which it was already but too easy to arrive at…' It makes me question whether we’re focusing too much on making things faster and easier, rather than thinking deeply about what truly needs improvement. I’m also worried about the loss of unpredictability in our lives – technology is managing uncertainty, making life feel overly controlled and predictable.
gastt: Can you see new technologies impacting your own art in the future? If so, how?
Constança Entrudo: Yes, it will for sure. More and more. I hope it can keep helping me to find ways to waste less materials, to be more sustainable and effective. Advanced digital printing can add depth to our prints, while AI could optimize production to save on waste and energy. Plus, digital tools for virtual prototypes would let me experiment with fabric manipulation without using extra resources.
I wish I’d be using all of these tools by now, but it's still so expensive. I believe it will also help to communicate the complexity of our fabrics online, which is something we struggle with right now.
gastt: Are there more materials and mediums you want to explore in the future that you have yet to venture into?
Constança Entrudo: Yes, a lot. I want to focus on working with monofibers as they can make recycling easier and cleaner. However, creating fabrics with the same richness and tactile qualities we’re known for will be challenging with this method, so I’ll be experimenting heavily with new techniques in fabric manipulation to achieve those textures and feels.
***
gastt: Thank you so much once again for your time, and for sharing your insights. To end our conversation on a high note, I’d like to ask: what are some positive developments in the fashion industry from the past few years that you are excited about?
Constança Entrudo: Seeing people from all backgrounds now working in fashion, bringing much-needed representation. Diversity in body types, gender expressions, and backgrounds has made fashion feel more relatable and inclusive, though there’s still progress to be made. This applies to geographical aspects of fashion: it’s no longer centred only in the main fashion capitals.
Also, with bigger brands adopting a more inclusive approach (even if not always in pricing), people feel closer to fashion and more aware of design. It’s helping to break down that 'Devil Wears Prada' image of the industry.
gastt: Finally, If you had to describe your SS25 collection using only three emojis, which ones would you choose?
Constança Entrudo: 🤯🛟🪸
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Graphic Design and Interview Conducted by gastt Fashion / @_gastt .
Media via Constança Entrudo.
Special Thanks:
Constança Entrudo, Claudia & Ashley and the Lobby PR Team.
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gastt: Hi Natasha, thank you very much for answering my questions! There are so many things I’m curious to ask you about, but I think the best place to start is at the beginning. As a designer from Ukraine, how has your Ukrainian heritage shaped your approach to design?
Natasha Zinko: It is a huge part of me and therefore a huge part of my collections and my journeys. Seeing Western culture and fashion through music and magazines when I was young excited me. Mashing Western with Ukrainian culture creates my unique perspective and vision of elevated street and zeitgeist.
gastt: Do you see this influence shining through in your work in overt ways? If so, how?
Natasha Zinko: Denim and Sportswear, which are intrinsically Western, are a huge part of youth Ukrainian heritage. [I reinterpret] them through my many lenses of my life’s experiences.
gastt: Speaking of your life experiences, I was interested to learn that you studied Law before you moved to London and pursued your career in design. Has your previous experience studying Law been helpful to you in your design career?
Natasha Zinko: It embedded in me the necessity of precision, accuracy, and truth. Whereas fashion allows me to blur those lines.
gastt: Are there any particular skills you developed while studying Law that you apply to your current career in Fashion, and managing your businesses?
Natasha Zinko: Respecting deadlines and accepting facts are the most important skills I developed when I was practicing Law. Though I still find backdoors to do things differently.
gastt: It’s interesting you say that you still find ways to do things differently. Are you very spontaneous? How much research and planning do you typically do before executing your ideas?
Natasha Zinko: Sometimes it is immediate, sometimes it’s months and months. I am constantly in a research frame of mind.
gastt: Even though you are constantly in a research frame of mind, have there been core principles of your design philosophy that have been present throughout your work from the beginning? Or are you constantly seeking to redefine and modify your approach to design, too?
Natasha Zinko: Teamwork, community, and sustainability will always be a part of my ethos / DNA. Who I was 12 years ago is very different, yet the same as who I am today. I am a designer, a wife, and a mother. I used to travel with 3-5 suitcases before the pandemic. Today, I just travel with a carry-on with the essentials of clean underwear and toiletries. I can restyle one outfit many ways.
gastt: Why do you think this is?
Natasha Zinko: It’s just who I am.
gasttHouse Interview Series # 4: Natasha Zinko
For the fourth interview of the gasttHouse Series, I spoke to one of the most innovative and exciting designers working today — Natasha Zinko!Born in Ukraine and now based in London, Natasha's work is a bold fusion of her Ukrainian heritage, and the subversive energy of the London fashion scene. You may have seen her pieces being worn by Doja Cat, Charli XCX, and Kylie Jenner (amongst many others). Or, you may have sampled her Lattes and CBD gummies, which showcase her ability to effortlessly translate her creative vision across various sensory modalities.Natasha was kind enough to carve out some time from her busy schedule to dive into her creative journey with me, generously discussing her inspirations, sustainable ethos, and good Matcha.You can check out more of Natasha Zinko’s work on her Instagram, and the Natasha Zinko online store.Make sure to check back every Monday for a new interview with more incredible upcoming gasttHouse Guests!***gastt: I get the sense that sustainability is always a key priority for you. How central is it to your life and values?
Natasha Zinko: For my whole life, we never discarded anything. You never knew if one small box you got might be the perfect size for a perfect gift many years later. [We were] carefully safeguarding everything, just in case. Today it’s called upcycling, repurposing, and sustainability.
gastt: It’s impressive to see how it’s always been a natural part of your life. Beyond your personal practices, how do you ensure that you are implementing sustainable practices in all areas of your work?
Natasha Zinko: I am constantly repurposing past season deadstock fabrics. I carry over fabrications rather than discarding them, which endures my designs forever. Customers loved adding on new styles to the ones they purchased from previous collections. I use denim jeans / skirts or jackets that may not have resonated with the customers and cut them up and rework them in a new way. I love fucking things up and giving them a new life.
By being sustainably minded, I don’t discard or off price anything in regard to overstock, deadstock, or late production that stores refuse. I redesign and add to my next collection.
gastt: Considering your environmentally conscious mindset and design philosophy, how do you deal with the fast-paced nature of the fashion industry, and its constant demand for newness?
Natasha Zinko: I remain consistent with my creative vision so that it reduces waste. Each collection builds upon the previous. Fashion is one of the biggest waste producers in the world. I want to change this.
gastt: I think you have a great outlook and attitude towards your work. However, as we know, enacting meaningful change on a large scale also requires collective action and collaboration. As someone who has collaborated with many people over the past few years (such as Betsy Johnson, and Kylie Jenner for Khy), how big of a role does collaboration play in your creative process?
Natasha Zinko: I love connecting with other Creatives. It expands my knowledge. I have worked for quite a while now with Betsy. It’s an ongoing collaboration.
The Khy Denim collab was a one-off collaboration. Kylie loves connecting with small niche designers, which gave me a greater audience for branding and marketing.
gastt: What qualities do you look for when considering potential external collaborators?
Natasha Zinko: I must make sure that we share the same values.
gastt: And how do you determine if you share the same values, and if they are a good fit with your creative vision?
Natasha Zinko: I have collaborated with a lot of artists, including Doja Cat, Charli XCX, Burna Boy, Sevdaliza, and VTSS. We all share a similar attitude. I am lucky to receive a lot of requests for custom designs / collaborations. I want to ensure that we are all aligned with the same communities.
Sometimes saying no is also important.
gastt: Even though you love to connect with other creatives, I’m sure you have also encountered challenges and conflict during the collaborative process. How do you maintain harmonious and productive working relationships, even during high-pressure periods?
Natasha Zinko: Breathing is the most important. I have my daily trainings, which give me time to focus and not get overly distracted. Sleep and a healthy diet.
gastt: You mentioned wanting to ensure alignment with the same communities among you and your collaborators. Is building a community based around the Natasha Zinko brand important to you?
Natasha Zinko: My team is my inner circle community, then my customers, then the stores who stock my collections. In reverse, I look at the voyage of my clients – where they live, where they travel. The artists I have had the opportunity to work with are also another circle of branding.
gastt: Do you think the wider fashion industry could benefit from investing more deeply in community engagement?
Natasha Zinko: I am a member of the British Fashion Council. The BFC constantly connects with the local and international communities to ensure we are all evolving and learning and changing. The fashion industry already invests in community engagements on many levels to micro and macro.
gastt: In addition to fashion, you have explored other creative projects, such as Natashkino, a space that also offers beverages and desserts. Why have you chosen to take a more holistic (and multi-sensory) approach to creating things for the Natasha Zinko brand?
Natasha Zinko: Eating well and healthy is important to me just as sustainability is. It is a 360 omni life platform. And I couldn’t find any good matcha in London.
I don’t think of it as chosen, rather as sharing how I choose to live a healthy regimen.
gastt: Even though you remain consistent with your creative vision for your fashion, do you adapt your creative vision and approach when working on projects in different mediums?
Natasha Zinko: Of course. I have to align myself with the project and understand the final goal of the project and the audience.
gastt: I’m sure working in so many of these different mediums can be exhausting for you, on top of managing the demands of your personal life. How do you recharge your creativity, and create space for yourself?
Natasha Zinko: I escape with friends for dinners, movies, and taking time to breathe.
gastt: Have you managed to create boundaries, and establish a strong work / life balance?
Natasha Zinko: I am far from perfect. I learn the most from my mistakes
gastt: Despite its flaws, I think there are many reasons why fashion remains so engaging in 2025. What are some positive developments in the fashion industry over the past few years that you would like to highlight?
Natasha Zinko: The fashion industry continues to be more and more inclusive of all people. No one in the world is perfect. I make mistakes. We all make mistakes. I love seeing the commitment to change in raising awareness and practices to reduce our carbon footprint. I love seeing Alex Consani win the Model of the Year at the British Fashion Awards.
gastt: You recently launched your Pre-Fall 2025 collection. Does this collection represent something brand new from you, or is it a continuation of themes from previous collections? Or both?
Natasha Zinko: It’s always both. Whether the collection is inspired by Monsters, Camping, Space, or Plastic, there is a common thread in all my collections.
***
gastt: Thank you so much again for your time, Natasha! Since we discussed the role of collaboration in your creative process, as well as your multidisciplinary approach to your work, I’d like to end with one quick question: If you could collaborate with any artist outside of the fashion sphere, who would it be?
Natasha Zinko: I have always wanted to collaborate with …… shhh it’s a secret. I’ll let you know when it happens. I have to keep a few things up my sleeves.
***
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Graphic Design and Interview Conducted by gastt Fashion / @_gastt .
Images and Media via Natasha Zinko / Agency Eleven / gastt.
Special Thanks:
Natasha Zinko, Lewis Scorey, Mabel and the Agency Eleven Team, John Murphy.
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Media Credits:
- Pre-Fall 2025 Lookbook:
Designer: @natashazinko .
Styling: @betsyjohnson_ .
Photographer: @raphaelbliss .
Casting Director: @conanlaurendot .
Hair: michael.delmas .
Makeup: @jnx_mua .
- Spring / Summer 2025 Runway:
Designer: @natashazinko .
Creative Director: @betsyjohnson_ .
Photographer: @mgphotovibes .
Hair: michael.delmas .
Makeup: @porschepoon .
Casting: @conanlaurendot .
Production: @elizabethwalshe .
- Autumn / Winter 2024 Runway:
Designer: @natashazinko .
Creative Director: @betsyjohnson_ .
Casting: @conanlaurendot .
Photographer: @knauerfoto .
Hair: @charlielemindu .
Makeup: @porschepoon .
PR: @agencyeleven .
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Gastt: Hi Victor, thank you for answering my questions! I would like to start by discussing your work broadly. Many of your ideas strike me as being quite conceptual. So, why is fashion a suitable medium for you to express your ideas? Why not explore fine art, filmmaking, or writing?
Victor: I am certain that I could have found another medium to develop my universe. Previously, I drew a lot and wanted to go into animation. I started 3D Modeling in high school and initially aimed for character design for video games. After graduating, I applied to various art schools in Paris and ended up in fashion design, although I knew nothing about it at the time.
Gastt: It’s interesting that you say you “ended up in fashion design”, since a lot of artists working in the medium of fashion will tell you that they always planned on pursuing a career in fashion. Are you just as willing to venture into the unknown in your creative process? How much research and planning do you typically do before executing your ideas?
Victor: Often, it's by keeping sketchbooks throughout the year that characters and silhouettes emerge recurrently. If I look back at my recent sketchbooks, there's a wealth of ideas. I am a perfectionist when it comes to details. I want the designs to be exactly as I drew them, leaving little room for the unexpected. I think I need to collaborate more with designers that have different intuitions to push my ideas further as I sometimes feel stuck.
Gastt: I think your faithfulness to your sketches definitely shines through in your work, in a positive way. And speaking of your silhouettes, many of them seem to diverge from the traditional “hourglass” silhouette that is favoured by most designers. Why do you think you frequently alter and augment the human form, as opposed to just highlighting it?
Victor: I am quite detached from my designs; I don't wear anything I create. What I love about this medium is playing with codes, pushing volumes to the extreme, creating uncanny silhouettes, and developing a language from another world.
Gastt: While it is definitely easy to appreciate your uncanny silhouettes and your more architectural pieces, I’ve also noticed that you create striking print work. Why do you think prints are also an effective way for you to express your ideas?
Victor: The illusions I develop in prints allow me to transform a body’s texture and volume effectively. It's a process I've been developing since school, which allows me to create a deeply developed look and add a lot of context with fake textures and volumes. I think that's the greatest asset I can offer.
Gastt: Considering the transformative qualities of your pieces, I’m curious to know if you intend to challenge conventional beauty standards through your work? Or would you say your work is purely personal, and not intended as a commentary on wider cultural issues?
Victor: My work is very personal, but I am aware of its broader aesthetic range. It is not intended to challenge conventional standards. I want to develop something else—a parallel story, a lore that aims to become a bigger picture that I would love to develop over time, if I have the strength and resources.
***
gasttHouse Interview Series # 3: Victor Clavelly
For the third interview of the gasttHouse Series, I spoke to rapidly-rising designer, CGI Artist, dedicated worldbuilder, and Armourer to Katy Perry, Victor Clavelly! Victor and I discussed the unique confluence of influences that inform his perspective on fashion, and how much more expansive the universe of fashion can really be.You can check out more about Victor on his Instagram. Make sure to check back every Monday for a new interview with more incredible upcoming gasttHouse Guests!***Gastt: I am definitely getting the sense that you value storytelling and worldbuilding. How important are they to you? Do you think that building a design universe and creating mythology enhances the experience of wearing your pieces?
Victor: Storytelling and worldbuilding are crucial for me, as they form the heart of my project. I would like each collection to be a new fragment of a larger story, ultimately creating a complex, self-referential world where everything connects. My ultimate dream is to create a video game.
Gastt: Would you say that the craftsmanship of your pieces is equally as important as storytelling and worldbuilding?
Victor: I love crafting things; craftsmanship is very important to me. My fashion practice makes sense because I enjoy the materiality of objects. Bringing imaginary objects to life and focusing on every detail is both the most interesting and demanding part of my work. All this while reappropriating traditional techniques. Today's technologies have opened a new dimension to craftsmanship.
Gastt: When artists like yourself embrace today’s technologies, it is easy to use words like “futuristic” to describe their work. However, how do you personally feel about your work being described as “futuristic”?
Victor: "Futuristic" and "medieval" have often been used to describe my work. Today, as I write the lore, I seek and find a language that is uniquely mine, developing a world from another universe with different laws, an oneiric myth from a world very different to ours. This kind of exercise is something I did a lot when I was younger; I kept sketchbooks for years, developing a universe. It was something I loved doing—getting lost in reverie and maintaining a connection with a fantasy dimension. I'm glad to still have the space to do this on another scale and make it my profession. I do agree with this characterisation of my work to an extent, but my goal is to create something entirely unique and not bound by typical descriptors.
Gastt: Are you also interested in responding to the present moment through your work, or do you prefer to present a vision of the future? Or maybe neither?
Victor: While I am not necessarily responding to the present moment, I aim to present a vision that feels timeless, combining elements of nostalgia and future imaginings.
***
Gastt: In addition to drawing aesthetic inspiration from technology, fashion is also in conversation with it in many other ways. For example, fashion is now frequently consumed and experienced digitally, and wider discussions about it take place on social media platforms. Many of these discussions pertain to the “exclusiveness” of the fashion industry. Given that you are an independent creative who has followed an interesting path into fashion design, I am eager to know your thoughts on this topic. Do you think that technology has made fashion more accessible?
Victor: Technology has made many fields accessible, including fashion and craftsmanship. It has democratised and made them financially and technically accessible. Any software is now easy to use and available. I learned 3D modeling on my own in high school, and as a CGI artist, I have been making a living for five years, which allows me to finance my collections. It's incredible what can be achieved with a computer nowadays.
Gastt: When you are relying on these digital tools to conceptualise your pieces and ideas, do you find that you ever have to make compromises in the design process in order to translate them to the physical world? How do you ensure that the craftsmanship and construction of your physical pieces are as well-executed as their digital concepts?
Victor: There are so many ways to use these tools and conceptualise pieces. I do 3D Modeling to earn a living, so I have a good command of certain modeling software. It's similar to industrial design; today, with 3D Printing, if your piece is well-designed and modeled, it comes out as if from a factory, with everything fitting perfectly and no errors or rework needed. I used to be very crafty back in art school, but computers opened a third eye. I am now a math nerd kind of lol.
Gastt: Considering the fact that you utilise digital tools as a part of your development process, I would like to hear your thoughts on Virtual Reality ( VR ) and virtual spaces, and the roles they can play in the fashion experience. Do you see VR as a tool to potentially enhance the experience of your work, or would it compromise too many of the tactile and tangible elements of your work?
Victor: VR doesn't excite me much; I already spend too much time in front of the computer. I'd rather it serve the physical world.
Gastt: Generally speaking, are there any technological developments on the horizon that you’re particularly excited about?
Victor: No.
Gastt: Do you think the fusion of fashion with technology will lead to ethical, social, or environmental concerns in the future?
Victor: This is the most important challenge we face, and we must reinvent our way of producing and consuming fashion. Personally, I would love to create only unique, artisanal pieces and focus on producing imagery rather than getting caught up in the fashion week game. I believe in reinventing the codes of slow fashion that exist outside of trends and time, but unfortunately, it might not survive long in today's industry.
This is why I create fashion; I want to design unique pieces, constantly exploring the medium through technology, dreaming, and inspiring on a micro scale, without the constraints of expansion and capitalisation. If our generation of designers can assert these new convictions, then the industry can change.
Gastt: In recent years, there has also been a lot of discourse regarding the impact of AI on society, particularly regarding its potential impact on creative industries. Do you see AI as merely a tool to enhance the creative process, or as a fundamental part of the future of art? Or neither?
Victor: AI allows the creation of a new category of images; it’s a new research system. I think it will change a lot of things. I already see it in CGI—how AI becomes a tool for everything: look dev, shading, rendering, compositing…
Gastt: While we’re on the topic of the future, can you share some of your personal ambitions going forward?
Victor: For now, I try to focus on the moment and figure out how to make a living from it. I just hope to find freedom, have the resources and time to create anything I imagine. Fashion isn't mandatory for this.
***
Gastt: Thank you so much again for giving us a window into your creative process and vision. I would like to end by asking a quick question related to your passion for video games. If you could be the artistic director of any video game or video game franchise, which one would it be and why?
Victor: My dream is to develop a game with FromSoftware, make some art direction or just design characters and mobs.
***
Graphic Design and Interview Conducted by gastt Fashion / @_gastt .
Media Credits:
2023 Collection ‘LES AMNÉSIQUES’:
Photography - @ leopenven .
Styling - @ famillefarez and @ heloisebcht .
Production - @ heloisebcht .
Casting by @ ht.casting , @ boyfall.out .
MUA - @ aphrod_isis .
Hair Stylist - @ lxna_mua .
Models:
@ segozaurrr .
@ zanythenanny .
@ lomeeb .
@ rebbushka .
@ so.dono.g .
@ mamiiwataa .
@ _trustfall .
@ anna_elr .
Team:
@ l.am.nobodyy .
@ _alicenael_ .
@ daniel.cheruzel .
@ louiseeugeniep .
@ so.dono.g .
PR - @ pr.you.consulting .
Backstage - @ zoeemercier - @ maureenllr .
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2022 Collection ‘LE JUGEMENT DU PONTIFE’:
Images and Styling: @ zoeemercier @ heloisebcht @ famillefarez @ fiasco.club .
Photography: @ leopenven .
Backstage: @ sarahclavelly .
CGI + Integration: @ itsbenebene .
Makeup: @ zoe.derks .
Hair: @ natsumiebiko .
Shoes @ pyrnarchives .
Models:
@ yousnao .
@ so.dono.g .
@ yolitalitchi .
@ verafatale .
@ lomeeb .
@ anna_elr .
Images and Media via @ victorclavelly .
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Gastt: Hello Loris and Simone, thank you both for answering my questions! I’d like to start with the basics. So, you established SUNNEI in 2014, initially with a focus on Menswear. I’m curious to know if your creative process has evolved over time, as you have expanded and introduced new elements to SUNNEI?
SUNNEI: What is at the core of SUNNEI today has been its essence since day one. The brand’s spirit, values, and aesthetic vision have remained unchanged over the years. Naturally, some things have evolved, which we believe is natural since neither we nor the world are the same as when the brand was founded 10 years ago.
Gastt: In addition to introducing Womenswear, since 2014 you have also explored Homeware, Photography, and community-based projects like RADIO SUNNEI, amongst other things. Why have you chosen to take a multidisciplinary approach when creating for SUNNEI?
SUNNEI: Even though it’s true that SUNNEI started as a “menswear label,” our idea has always been that this category would be just a starting point. After expanding into footwear, jewelry, accessories, and womenswear, we experimented beyond fashion, seeing it as just one of the many areas where SUNNEI could exist. We like the idea that we could create a SUNNEI version of anything. What makes SUNNEI “SUNNEI” is so well-defined that one would recognize the brand in any context.
As we transition from one industry to another, we also undertake projects that cross different media. We don’t see the physical and digital realms as competing but rather as complementary, which is how we approach them. We believe in the importance of adapting to each platform to maximize the result.
SUNNEI took its first step on Instagram in 2014, when almost no other brand was using it, but we realized its potential as a powerful amplifier. Soon after, people from different parts of the world and various age groups started gathering around the brand. What most members of our community share is that they are creatives: in music, design, art, cuisine, and many other industries. It comes naturally to us to involve them in our projects. They are passionate about the brand and eager to “be part of it,” so it just makes sense.
Gastt: I sense that community and collaboration are core components of SUNNEI for you. Why have you both chosen to work together as creative collaborators, as opposed to separately as individuals? What makes you compatible as creative collaborators?
SUNNEI: Our brand's characteristics reflect a blend of our cultural backgrounds — its irony and boldness from Simone's Southern Italian roots, and its elegant simplicity from Loris' French heritage. SUNNEI wouldn’t be the same without these two sides. While it’s true that Simone focuses more on communication and Loris on design, any major decision comes from both of us and is often the outcome of two different points of view shaped by our discussions.
Of course, it’s not always easy, but SUNNEI is neither Loris nor Simone; it’s what emerges from the encounter of the two of us.
Gastt: As important as collaboration is to SUNNEI internally, you have also notably collaborated with various external brands. For example, you collaborated with rug design company cc-tapis for Autumn / Winter 2024, and you also have an upcoming footwear collaboration with Camper set to debut on June 17. What qualities do you look for when considering potential external collaborators?
SUNNEI: We are not very interested in collaborations seen as “strategic moves”; there are already too many of these in the market. We believe in starting a joint venture when there’s more substance behind it.
In the case of the collaboration with the design label cc-tapis, with whom we created the gigantic rug for our latest show, the project came after several years of friendship with the people behind the brand and mutual respect for each other’s companies. Both SUNNEI and cc-tapis can probably be considered innovators in our industries, sharing the same value for high quality.
Gastt: And in an industry populated with many innovative footwear brands, why are Camper the best partners to collaborate with?
SUNNEI: The collaboration with Camper also stemmed from a long-time relationship. Our connection with Achilles Ion Gabriel dates back to when he was not even their creative director, and we’ve always appreciated the brand’s free-spiritedness and the fact that, like us, they know it’s not always necessary to take yourself extremely seriously. That’s why we knew there was potential to experiment with out-of-the-box ideas with them. The SUNNEI x Camper footwear style we developed perfectly serves this purpose.
***
gasttHouse Interview Series # 2: SUNNEI’s Loris Messina and Simone Rizzo.
For the second interview of the gasttHouse series, SUNNEI’s creative directors Loris and Simone generously answered many of our burning questions. For example: How do they manage to make their runway shows go viral every season, seemingly effortlessly? Why does venturing outside of fashion make so much sense for a “fashion brand”? Where’s Angelino? You can check out more about SUNNEI on their website, or of course on their Instagram. While you're at it, why not check out Loris' and Simone's Instagrams 🌞Make sure to check back every Monday for a new interview with more incredible upcoming gasttHouse Guests!***Gastt: As you mentioned earlier, SUNNEI has a very defined aesthetic vision, and distinct design language. After reflecting on the work you have done over the past decade, I noticed that you prefer to refine and build on existing ideas of yours over time, rather than flooding the market with brand new pieces that are responsive to trends every season. Why do you take this approach?
SUNNEI: In this industry’s perpetual cycle, season after season, our goal is to improve what already exists. Each collection is not completely different from the previous one; it's an upgrade — similar to how an iPhone gets better with every new system update. We never follow trends; we believe in the idea of an ever-expanding wardrobe where our community can mix and match items from different collections in endless ways and for various occasions.
We take this approach because we don’t think that everything we did a few months ago should be discarded just for the sake of having “something new.”
Gastt: Since you’re always in the process of improving and augmenting your ideas, how open are you to embracing unexpected or unplanned results? Or do you prefer to stick to a plan?
SUNNEI: Our research is continuous; we are always open to inspiration and bring our ideas to the table when the right opportunity arises. It’s the same with the concepts behind our shows — we have many ideas already, and each season we decide which ones to use.
Gastt: Do you think that your continuous research process stems from perfectionism in any way?
SUNNEI: We want our pieces to be durable, which is why we prioritize quality and manufacturing. It’s important to us that each collection is the best we have presented so far, while knowing that the next one will be even better.
Gastt: It’s refreshing to know that you value the craftsmanship and quality of your pieces as much as you value the sense of “Irony” and “Boldness” that define SUNNEI. In the current economic climate, many brands are pushed to compromise the quality of their manufacturing process in order to maximise their profits. I’m curious to know - how do you manage to find a balance between freely expressing yourself in your work, and confronting the commercial pressures of the fashion industry?
SUNNEI: Our collections mix items that reflect both needs. On the one hand, we enjoy exploring categories of daily-use products, such as denim, which for us has become a special project named “BELLI DENTRO,” meaning “beautiful inside” because all of our denim features printed stripes on the interior. The same goes for our “Do What You Want” Collection, which represents our pursuit of “the perfect basics.” This is our carry-over capsule collection of high-quality T-shirts with what we consider to be the ideal fit.
On the other hand, we can’t help but experiment with new techniques, materials, and silhouettes, which is what you see on our runways.
Gastt: Speaking of experimentation, are there things unrelated to fashion that influence your work?
SUNNEI: We are inspired by what’s around us: the people we interact with, the places we visit, the things we do. While others in the industry may find inspiration in abstract philosophical concepts, for us, it’s the opposite.
An example is the presence of SUNNEI Objects, a collection that includes items of very disparate nature, from vinyl records to puzzles, pillows, and Murano glasses. These items represent the “SUNNEIzation” of what we use in our daily lives. We realized that the ritual of dressing accounts for only 1% of our day, and we wanted to accompany our community throughout their entire day.
Radio SUNNEI follows the same concept: At our office, we are all very interested in music and have specific tastes, so we wanted to give like-minded people the chance to connect and enjoy a visual and acoustic background that’s on 24/7.
Precisely because we work with what we experience firsthand, Angelino—our dog—was the inspiration behind the introduction of a dogwear line. In the FW22 collection, we dedicated a print to Angelino, depicting a crowd among which you are called to spot a dog, like in “Where’s Waldo?”. The print is called "Where’s Angelino?"—a question that comes up several times a day in the team’s WhatsApp chat when we don’t know where he has hidden among the 1000 square meters of our headquarters.
***
Gastt: Previously, you mentioned SUNNEI’s early adoption of Instagram back in 2014. This was obviously very prescient, since SUNNEI has subsequently become well-known for its digital presence and consistent virality on social media. Considering that virality has become a goal for basically every brand in 2024, how do you find the balance between provoking thought and creating conversation around SUNNEI, while remaining true to SUNNEI’s core values and brand identity?
SUNNEI: If you read the comments below SUNNEI videos and photos that went viral, you’ll often find, “why didn’t I think of this?”. We believe that’s part of the secret behind them: our aim is to create engaging content from the simplest ideas. The same goes for our shows — their uniqueness doesn’t come from the huge productions typical of bigger brands, but from finding straightforward ways to convey our vision of the contemporary. For every show, we play with the mechanisms of the industry, challenging traditional fashion show norms and questioning immutable roles and processes. It's always about breaking down walls to explore unexpected types of interactions. We create a 360-degree experience where location, looks, models, and sound come together to make a lasting impression.
This season [ Autumn / Winter 2024 ], we focused on the models. Who ever cares about what they think? This time, we gave their reflections some space by using them as the soundtrack of the show.
We are often asked if our approach is to “provoke” others, but no, we rarely look at what others do. We act based on what makes the most sense for us, and if that results in being “provocative” to someone, that’s beyond our control. We just think that with a show lasting 15 minutes, the spotlight is on us, and we want to use it to say something meaningful with both provocation and light-heartedness.
Gastt: There seems to be a pervading sense of fun and irreverence that distinguishes SUNNEI as a brand, as well as your aesthetic vision. How important are irony and humour in your work, overall?
SUNNEI: They are important, but it’s always subtle. We don’t aim to be fun. It’s about being colorful on the outside and having a pinch of edginess on the inside. We believe in this balance. Not taking yourself seriously all the time is very important. For example, the SUNNEI Objects line includes a series of decorative items made from Murano glass shaped like sex toys.
Gastt: While there are definitely many lighthearted ways you can approach your work for SUNNEI, I imagine that building and managing any brand as successful as SUNNEI would also entail several responsibilities. One of the main responsibilities of every brand in 2024 is to consider the sustainability and impact of their practices. Could you please describe the importance of sustainability to you? How do you implement sustainable practices in your work for SUNNEI?
SUNNEI: We believe in making an effort to be as minimally impactful as possible. For example, we started a project called “SUNNEI Selecta,” a sustainable initiative aimed at reducing waste by giving new life to our previous stock. The idea for SUNNEI Selecta arose from realizing how many DMs we receive daily with photos of items from previous seasons and inquiries about their availability. This led us to question the traditional industry practice of storing leftover collections in warehouses, where they are often forgotten. After a successful debut in Milan, SUNNEI Selecta is now embarking on a global journey, with stops in Berlin and Amsterdam already.
***
Gastt: Thank you both so much again for answering my questions, and for sharing your perspectives on how you successfully navigate various creative fields. I would like to end by asking: if you could change one thing about the fashion industry in 2024, what would it be?
SUNNEI: Be less scared of others’ reactions and just do what makes sense for you and your brand, without following what others have told you is the “right way to do it.”
***
Graphic Design and Interview Conducted by gastt / @gastt_fashion.
Special Thanks to Rebecca Baldanzini.
Media Credits:
Original Image for Portrait of Loris and Simone via SUNNEI / Loris Messina / Simone Rizzo.
AW24, SS24, AW23, AW22 Runway Show Videos via SUNNEI.
SS23 Runway Show Video Clips by gastt Fashion.
Product Images via SUNNEI / Loris Messina.
__________
Gastt: Thank you for speaking to me Simon! To start, I would like to ask you about printmaking. Obviously, printmaking is an important part of what you do. Why is printmaking an appealing medium for you to express yourself in, as opposed to something like embroidery, or beadwork?
Simon: I like to be quite immediate with my work. I enjoy [a] haphazard process, and I also like mistakes. Printmaking can be precise, but it does allow for speed and the possibility of errors that can lead me onto a new path.. Other forms of textile design need a lot more preparation and exactness. I like immediate results. I’m drawn to strong, graphic imagery, and printmaking lends itself to this.
Gastt: Why do you think you were initially drawn to printmaking? Has its appeal changed over time for you?
Simon: I was inspired by Jamie Reid’s work for the Sex Pistols in the ‘70s, graphic and strong with a message. I enjoy the combination of image, text, and abstract mark making that I saw in punk fanzines. I started by making my own T-shirts. This led me to linocut printmaking, collage, iron-on transfers, and creating clothing with a point of view. After going to art school and being introduced to all forms of printmaking, I realized it is where I feel most comfortable.
Gastt: Have you always had a clearly-defined creative vision for your work?
Simon: I feel that I have.
Gastt: Why do you think this is?
Simon: When I was 10 years old, Punk Rock emerged. I was very attracted to the attitude, the music, the clothes, the fuck everything up attitude. I was especially inspired by the women of Punk: The Slits, The Raincoats, Poly Styrene, Siouxsie, Soo Catwoman, Debbie Juvenile, Helen of Troy, and Jordan. I loved their strength, their strong image, and ownership of sexuality. I began to understand the power of clothing in image. It inspired me, it still does today. The sense of making people feel uncomfortable was a huge draw for me. I have always wanted my work to create an emotion, good or bad. It came to me in 1977 and it’s still what excites me and makes me create.
Gastt: Considering your responsiveness to the first wave of Punk, do you prefer to take a more free-form, or “Punk” approach when developing and creating your prints? Or do you prefer to take a more conceptual approach?
Simon: I must have a narrative for my work. I develop a story in my head to begin with. An idea from something historical, may be a book or a film, a person I happen to see in the street. I always must have a person in mind when I build a design story. I go back to things time and time again. There are certain things I am obsessed with. Tollund Man for example, and the 1949 movie, ‘The Secret Garden’. The movie is shot in black and white, and transitions to color when the garden comes back to life. That moment has always stuck with me and informed the ‘FADE’ section of my work. So, my narratives are with me forever. I build upon them and continue to develop. I think because I know them so well I can turn to something improvised quite easily and with very limited resources.
Gastt: Why do you think certain narratives stay with you?
Simon: Things that have had a strong emotional effect on me tend to stay with me. It could be something that truly inspired me, made me think differently, or just stuck in my head. These things I’ve kind of carried along with me as my personal library. I know them well. They are not trend driven or disposable. I go back to them time and time again. It’s somewhat the opposite of what we are meant to do in fashion I suppose.
Gastt: Speaking of things that are “trend-driven” and “disposable”, I’m curious to ask about your stance on issues like sustainability. Could you please describe the importance of sustainability to you?
Simon: My goal has always been progress, not perfection. Any step forward in working with cleaner, safer, more ethical materials in a cleaner, more ethical way is a good thing. It’s why I started integrating sustainability into every class when I was leading a fashion school. I believe everyone must be presented with the information and go out into the world and be the change makers. We all must move in this direction.
In my own work I strive to be as sustainable as I can. I have eliminated many toxic chemicals and processes. I do not mass produce anything. I reuse everything. I work on worn clothing. I strive to [take] garments out of the land fill line and give them a second life. My goal is to offer people an alternative, [rather] than constant shopping.
Gastt: We all know that ‘Sustainability’ is frequently co-opted and used as a marketing buzzword by corporations. However, have you always considered the sustainability of your creative process and practices?
Simon: I heard the term sustainability when I moved to California in 1996. My work had always involved working with existing clothing. I understood that this in itself was a way to be more sustainable. I decided to get myself educated in all things sustainable and do my best to apply the concepts to my work. I think I’m more about Degrowth these days.
Gastt: Is this why you frequently incorporate second hand and preowned pieces into your work?
Simon: Again, it started with Punk. There were no ‘punk’ clothes to begin with. Plus, I was 10 years old, poor, and lived in a field. I couldn’t get to London even if I wanted to. It was about taking what I had, adding things I could find, and modifying to build the look. I became obsessed with garments, surplus military uniforms, my Grandfather’s shooting suits. I found the inside as important as the outside and the concept of the person who wore it. The situations, the history.
These days I strongly believe there are enough garments in the world. I have no interest in producing anything new. “Worn-Wear Rehab to Second Life” is my mantra.
***
gasttHouse Interview Series # 1: Simon Ungless
For the first interview of my Interview series “gasttHouse”, I had the privilege of speaking with someone who is an original Alexander McQueen collaborator, an Atelier Jolie Artist in Residence, a Designer, a Printmaker, and so much more — the living legend Simon Ungless.Simon graciously answered many of my questions about his career and creative process, spanning from his early collaborations with Lee McQueen in the ‘90s, to his more recent work for Angelina Jolie’s ‘Atelier Jolie’ project. You can check out his work on his personal Instagram , and the When Simon Met Ralph Instagram.Make sure to check back on Mondays for a new interview with more incredible upcoming gasttHouse Guests!***
Gastt: Shifting gears slightly - in addition to your experience as a designer and printmaker, you have also worked as an educator. For example, you started working at the Academy of Art University in San Francisco in July 1996, and were the Executive Director of Fashion until May 2022. What are some key things you consider to be important for emerging designers / students to learn?
Simon: Be able to communicate your ideas visually. For most this means having the ability to sketch. Understand pattern-making, draping and construction, know how things are made. Know fabrics, know process. Try your clothes on. Can you move? Have a concept, have a point of view, know who you are as a designer.
Gastt: The fashion industry has undergone significant changes since 1996. Do you think that fashion students graduating in 2024 are adequately prepared for the current reality of the fashion industry?
Simon: They are not. Education is fucked. The schools are fucked. They keep having to have fashion shows so they get more new students. It’s an outdated system that does not benefit the designers. The skill set needed to build your own graduation collection is not needed to be forced on every person going to fashion school. There are so many other pathways for designers to take that require a more diverse skill set.
Job functions have changed and job opportunities have reduced. Schools just want more and more students so they make more and more money. It’s why I left education. I was constantly in conflict as I wanted change but [was] never supported to do it.
Gastt: How do you think current fashion education programmes could be improved, and could more effectively prepare students for the realities of the fashion industry today?
Simon: Hire people who have actually worked and continue to work in the industry to lead and teach. Work closely with industry on changes and needs, change curriculum accordingly. Be realistic about how many people need to go into fashion education as a career choice and enroll students accordingly. These are all things that are way too hard for most schools to do as it goes against their business needs.
Gastt: You mentioned that you had a lack of support in some areas of your role as an educator. What were some of the biggest challenges that you faced as an educator? How did you overcome them?
Simon: In terms of being an educator I always had the thought that I was swimming upstream, and that upstream swimming was making me stronger. Then one day I woke up and I thought fuck it. I’m out and I left my job. The act of quitting was the most powerful overcoming I ever did.
Gastt: And as a printmaker?
Simon: As a printmaker I think my biggest challenge was thinking I had to be like everyone else, or at least compete, to be more commercial in order to be successful. Going back to school for the MA Fashion at Central Saint Martins after two years in the industry made me realize I’m much better off just doing what I want to do. Working in the industry can often mean compromising one’s aesthetic or morality. I decided long ago to not do either. I’ve not gotten to do a lot of things as I simply did not believe in the brand or the project.
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Gastt: It seems like you have stayed true to your values in a high-pressure industry, but you have also managed to stay booked and busy. Amongst other things, you’re currently an artist in residence at Atelier Jolie, which is a creative collective and space that was established by Angelina Jolie. Why was this partnership appealing to you at this time?
Simon: It feels like family. A group of different, creative people from varying fields with a common goal of doing things differently. It feels very fresh, exciting, ever-changing but ultimately creative and generous.
Gastt: So working at Atelier Jolie has been an enjoyable experience for you so far?
Simon: Completely enjoyable. I believe in the project, the outcomes and the people. I have very much enjoyed the people who came to meet me either one on one or through workshops. It’s building a community for me. I don’t know another place that has sold my clothes where the customers message me, extremely excited with their purchase. To me, Atelier Jolie means community, not units sold.
Gastt: Considering the sense of community you experience there, do you see Atelier Jolie’s business model as the ideal business model of the future, or more as a singular project responsive to the current moment? Or neither?
Simon: I truly believe it needs to be the business model of the future, but it is a very big mind set change for most people. In essence it means degrowth. To degrowth for many is to die. For me, it means we all get to live, prosper, and have fun.
Gastt: Do you think Atelier Jolie offers a solution to sustainability issues in the fashion industry, or does its value lie elsewhere?
Simon: I think it can offer a choice, an understanding, a different pathway. Importantly it is open to all. There are no restrictions due to cost. My workshops are affordable and accessible to all. It has a very generous and democratic spirit. And at the same time, we are all learning.
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Gastt: Another one of your more recent projects was your contribution to the ‘REBEL’ exhibition at the Design Museum in London last year. How did you get involved with it?
Simon: 2023 was the 30 year anniversary of NEWGEN. In 1993, Lee McQueen was part of the first group of designers to be supported by NEWGEN to present a collection in London Fashion week. I lived and worked with Lee. We created the 13 piece Taxi Driver collection together. We lost the 13 pieces outside of a nightclub a few days after the showroom at the Ritz Hotel closed. Sarah Burton / Alexander McQueen asked me to consult on reimagining the collection and the process for the ‘REBEL’ Exhibit. I went to London [in] March of ‘23 to work at McQueen. They created a studio for me to work in. I had access to the incredible archive and truly amazing team. I spent a week making a room of images, objects, textiles, and emotions. I didn’t attempt to remake any specific garments. I made things using the same techniques, same materials, same energy, but seen through my eyes and fingers 30 years later.
Gastt: Why did you choose to be involved when asked?
Simon: My beginnings with Lee are the most important to me. The work we did together was spontaneous, exciting, innovative, and not done for commercial gain. We created the things we wanted; the things we knew had to be made. It was very personal. I wanted to revisit that work. Atelier Jolie reminds me so much of that time. I also adore Sarah Burton, and when Sarah asks, I usually comply.
Gastt: Was reflecting on your past work and collaborations with Lee McQueen an emotional experience? Or cathartic?
Simon: Deeply, deeply emotional. There were many things I never dealt with. Working on this project gave me the opportunity to address those things. At times it felt like Lee was with me. Like we were draping together. Pinning one piece of lace into a dress is something that everyone knows I do not have the skill set for but it happened. I was stood there doing it but it wasn’t me. Cathartic in the way that I could finally let McQueen go. The brand I mean, not Lee.
Gastt: How did you feel about the final presentation?
Simon: They built a little version of our house in Tooting where we made the collection. I liked it. It could have been more raw, but there is only so far to go when a museum and the public are concerned. I heard from so many people who attended. They liked it. They felt inspired. For me that’s all that matters.
Gastt: I was able to attend, and I’m happy to say that I definitely liked it, and I definitely felt inspired! After reflecting on your past experiences and collaborations with Lee McQueen (especially after working on the exhibition), how do you think the legacy of your work with him has lived on?
Simon: I worked with Lee on projects at St Martins and on the collections through Dante. I got to work with him while he changed fashion, while he changed the way people feel about fashion. Many of those early shows have become fashion legends. Lee always knew what to do with my work. Some of the garments are super simple, but with the print or textile treatment they are next level. They’ve been written about, put in books. There are currently three major exhibitions open with my work with Lee, The MET, the de Young in SF, and The Frist in Nashville. Those pieces have built my legacy. They seem to live on.
Gastt: How (or where) do you see your shared legacy manifesting today?
Simon: There seems to be a lot of interest in our work together right now. I’m seeing it pop up as obvious inspiration in other brands' collections. I’ve seen some of it being revisited in pre-collections at McQueen. It’s very much part of the archive and DNA of McQueen. It clearly is part of the current re-interest in my own work.
Gastt: I really appreciate your vulnerability, and your honest reflections on your life and work. Maybe I could also ask you to please share a fun anecdote or memory of your time working with Lee McQueen?
Simon: Lee would spend hours making a beautiful garment, may be a frock coat, a dress, or suit jacket, and give it to me and say “can you just fuck this up a bit for me”… I always think…let’s just fuck this up a bit.
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Gastt: You have continued to contribute to the Alexander McQueen brand, working on collections such as SS24 Menswear. I’m curious to know: how collaborative were these experiences?
Simon: Working with Sarah Burton is truly collaborative. From concept through to final fabric and use.
Gastt: How do you think Sarah Burton has honored the vision of Lee McQueen through her work as creative director of Alexander McQueen?
Simon: Most definitely. Lee created the brand. Sarah built it into a powerhouse.
Gastt: You mentioned earlier that working on the ‘REBEL’ Exhibition helped you to let go of Alexander McQueen as a brand. How do you feel about the future of the Alexander McQueen brand following Sarah Burton’s departure?
Simon: Honestly, I have no feeling about the AM brand moving forward. To me it’s just another brand. Obviously it can’t be the McQueen that was Lee.
Gastt: I have to ask - how did you feel about the latest McQueen show with Seán McGirr serving as creative director?
Simon: In terms of reaction it felt very similar to the reaction Lee received in the early years. I hadn’t seen such awful things written about a collection since Nihilism and Highland Rape. In terms of the clothes, I didn’t like much on the runway, but now I’m seeing them presented and worn differently, I think there are some great pieces. I’m looking forward to seeing where he takes it.
Gastt: Seán McGirr’s references to the Alexander McQueen archive were highly dissected and commented upon after his debut collection was presented. In your opinion, should fashion ideally reflect on the past, respond to the present moment, or look to the future?
Simon: It must reflect all three. One must know the past and be fully aware of the current moment if you want to build a pathway to the future.
Gastt: How valuable are nostalgia and referencing the past in fashion?
Simon: Valuable to know but not valuable to show. Nobody needs a history lesson.
Gastt: Speaking of this, are there any current or emerging trends in fashion today that you consider to be promising?
Simon: I’ve never been one for trend[s], but I’m very interested in a few newer designers coming along. They seem to all want to do things differently, have very clear and solid aesthetics, and [are] super super skilled at designing and making. Paolo Carzana, Niccolò Pasqualetti, TORISHÉJU, Feben, and Dilara [Findikoglu] are all giving me hope.
Gastt: You do also have your own personal creative projects that you’re presently working on. For example, When Simon Met Ralph, and Blackened. What are some of the core ideas you want to explore through your own design projects?
Simon: Basically, I just want to keep working with worn and used items in a way to make them desirable again. I’m working with wooden objects now, early-stage development. Many people have issues with second-hand things, clothing, and home objects. My role is now about helping people shift away from that problem.
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Gastt: Thank you so much again for your time, and for sharing so much with me about your life and career. I’d like to end on a quick question. Can you please recommend a Visual Artist and / or Musician whose work you’re enjoying at the moment?
Simon: My visual artists of choice are Marcel Duchamp, Max Ernst, Man Ray, Mark Rothko. Musicians change daily.
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Interview Conducted by gastt.
Layout and Graphic Design by gastt.
Image 1 by Robert Fairer.
Additional Images via Simon Ungless, and gastt.