TELL US A LITTLE BIT ABOUT YOURSELF AND YOUR BACKGROUND.

I grew up in a little village in the south of the Netherlands (it had a population of 1200 people – tiny), a place overwhelmed by nature, empty spaces and sober, realistic people. When I was young, I was always busy in the garage building forms out of wood and metal and going to ballet classes. At one point I started photographing the sky, something that is always different from every position. As I got older, architecture and fashion called to me above anything else. After finishing high-school i decided upon fashion, for me it was more challenging to work with movement and shape in relation to the body, than with buildings.

I travelled to Arnhem and studied my bachelor of Fashion Design at Artez Academy of Visual Arts. At school I was honoured to gain experience in Paris at the Maison Martin Margiela - a house which i have always held in the highest regard (in a city I find pulsing with energy and inspiration). I then went to IFM in Paris, it was the perfect school and place to do my master degree.

YOUR WORK IS OFTEN DESCRIBED AS A CONCEPTUAL, 3-D EXPERIMENTATION AND AN EXPLORATION OF NATURAL MYTHOLOGY, HOW WOULD YOU DESCRIBE IT?

Creating a new concept is the first step I take before I start designing, beginning with finding new images by capturing the forces of the nature and mythology. I find new silhouettes appear from a reaction found in everyday life, which we never expect or notice. I strive to obtain a level of ‘post-construction’.

After studying the concept I transfer all the ideas into 3-D volumes. In this way I design the total perspective of all views of the garment. Special garments with a strong identity are created by new lines, volumes and shapes. With the knowledge of mixing conventional and new pattern-making I then complete a lot of research which gives me the possibility to invent, and to let the garments speak for themselves by showing new shapes and silhouettes.

YOU SHOWED FOR THE FIRST TIME IN PARIS FASHION WEEK YOU'RE A/W 2011 COLLECTION, HOW WAS THAT EXPERIENCE?

 It was monumental – it seemed like a lifetime of work and adrenalin, over in 8 minutes.

DID YOUR TIME AT BALENCIAGA AND MAISON MARGIELA CHANGE THE WAY THAT YOU HAD PREVIOUSLY WORKED AS A DESIGNER? 

It didn't change my technique and own way of designing. I never design by drawing, instead I drape every single piece on the mannequin. Those experiences opened up my view on how to build a collection, and how to work well in a team.

SO HOW DO YOU BEGIN THE DESIGN PROCESS?

I always start with the concept. This is a process that starts most of the time by research with vintage garments combined with a source which in the past, has had the power to change them in different ways, such as wind/ water/ heat. By re-imagining the clothing with this force, I then capture it by taking pictures. Those pictures are the starting point for new silhouettes, lines and fabric directions.

YOUR DESIGNS ARE INSPIRED BY THE ELEMENTS. HOW DO YOU TRANSLATE THESE IDEAS ONTO FABRIC?

Each concept gives a different direction. For the last season I kept the heated, melted and sometimes burnt garments that I explored after following the evolution of the heat in the garments and the new silhouettes. This gives the inspiration and impulse to choose peeled structures, leather with burned print designs, a fabric design with tubes, creating melted forms and large contrasts in the fabrics.

WHAT MADE YOU INTEGRATE BLOWTORCHES INTO YOUR DESIGN PROCESS FOR AW/11?

Blowtorching vintage garments was an important research process for A/W11: to explore the shapes created when both natural and synthetic fabrics are heated.

WHAT HAVE YOU TAKEN FROM YOUR EXPERIENCE AT OTHER FASHION HOUSES AND USED IN YOUR OWN COLLECTIONS?

I have seen how enormous the possibilities are to work with (and to create) different materials. I’m happy to extend this knowledge because it can give a whole new dimension and strengthening to a garment.

USING SILKS AND EXOTIC SKINS WITH JERSEY CREATES INTERESTING FABRIC CONTRASTS, BUT IT MUST MAKE FOR COMPLICATED CONSTRUCTION AND A HIGH PRICE POINT, OR IS THIS IRRELEVANT, AND AESTHETICS THE ONLY PURPOSE?

Aesthetics is one of the most important aspects in fashion, and fabrics and materials can make this or break it. But we always achieve different price ranges within the collection, so that it is affordable for more clients.

I see it as a challenge to work with complicated constructions, trying to search for solutions during a process of draping/patternmaking and realizing the garment.  

WHAT DO YOU LIKE TO WHEN YOU ARE NOT DESIGNING? 

I love to spend time with my friends and travel to inspiring places in the world. I'm always happy to go out for a drink or a dance. I also like to read science journals and watch documentaries.

IN YOUR OPINION, WHAT ARE THE BEST AND WORST THINGS OF BEING A FASHION DESIGNER?

You have a marvelous freedom, and a new journey which repeats itself every half year in a different way, and the possibility to bring your thoughts to life by creating and realising a garment. 

The worst thing - fashion is a quite hard field to work in, so you get a stronger personality during the years. All the hard work also means that you have to give up your social life for a big part of the year.

WHAT SKILLS DO YOU THINK A FASHION DESIGNER SHOULD HAVE TO BECOME SUCCESSFUL?

A designer must possess ambition, perseverance, discipline and a true love for their profession.

3 THINGS YOU CANNOT LIVE WITHOUT?

Friends, passion and love.

WHAT HAS BEEN YOUR BIGGEST ACHIEVEMENT SO FAR?

My biggest achievement was to set up my own label and have the chance to show its first collection, last March in Paris. My life sometimes seems like it’s a roller-coaster, but I have the feeling that it all becomes a part of what I’m creating and achieving with my work.

HOW DO YOU BALANCE SIMULTANEOUSLY DESIGNING MENSWEAR AND WOMENSWEAR?

For me men and women have an equally heroic temperament, but their body and philosophy are so different that they are two different concepts. So it’s very interesting and possible to separately work on the two collections.

WHERE WOULD YOU LIKE TO SEE YOURSELF IN 10 YEARS?

By then I would love to have created an appreciated fashion house, achieved with the people with whom I'm working with closely - and thanks to my family and friends. Together with them I would love to every season to bring a new collection which satisfies the expectations of the people who wear my clothes.

WHAT ADVICE WOULD YOU GIVE OTHER EMERGING FASHION DESIGNERS?

Maintain your own style and personality. Always reflect on your mistakes and obstacles, because you can learn a lot from them and grow further.

HOW DO YOU IMAGINE THE FUTURE?

 Surrealistic brightness with unexpected craziness. 

WHAT CAN WE EXPECT NEXT?

A small capsule collection for men and a surprising show for woman's prét-à-porter SS12.

WHO IS YOUR IDOL?

Jacques Tirouflet

Interview by

Bianca Spada

Words by Lucy Morris

Pictures courtesy of Totem Paris and Christian Lartiffot