Attire Accessories - Mar/Apr 2019 (Issue 75)

64 Tell me a bit about how the company started. What was the aim of the label when it was launched? After working at a global fashion retailer based in the U.S. for a year, I was frustrated with the speed that designs became obsolete and the amount of wasted resources. I love to create more unusual artwork and take inspiration from nature and places I have travelled to, so I began to create a slow fashion brand with a very small impact on the planet. How were the initial products developed, and what was the response? I started by placing very small orders and printing a few silk scarves at a time. People loved how distinctive the designs were and their combination of modern and vintage appeal. However, it quickly became clear that the high quality was an essential element that couldn’t be compromised on. What challenges were overcome when the company was starting out? I imagined that I would be able to spend far more time as a designer and actually designing! But in reality, I have had to invest so much time learning a whole range of skills, from building a website and negotiating with manufacturers to presenting to buyers and SEO tactics. There’s also a lot of physical work, setting up at shows and continually lugging around heavy boxes, which is not as glamourous as people would imagine. What sets you apart from your competitors? I’ve got a unique style, and I am not afraid to make something ugly. Strange faces, body parts, snakes and insects are all designs elements that I believe make my prints striking and desirable. I don’t aim to suit everyone’s taste because I prefer to create a reaction rather than a bland design. How important is your location and history to the company in its ongoing success? Although I’m based in London, I like to think that my pieces can suit a range of climates, and I’ve had customers from all over the world. Being so inspired by travel, I have elements of a range of cultures within the artwork. I do, however, try to get things made locally where possible. How has the product offering changed since you began, and how would you describe your current collection? I began with scarves and kimonos and then branched out into homeware a year ago. It’s been really exciting seeing how my designs suit different styles of interiors and make statements in my customers’ homes. I’m now on my third print collection, named Enticement, which has some darker inspirations based on myths of the Amazon rainforest. I’ve also used darker colours than before and a moodier feel but with a few zingy pops of yellow, pink and orange. Being able to support the Rainforest Foundation UK with the collection has felt really rewarding. How often do you launch new lines, and what are your bestselling designs? Tell me about your recent campaigns. I only create one new print collection a year and drop in new products slowly throughout. I like to keep the essence of design as consistent as possible and focus on changing the prints, as they are the main focus of the brand. The Large Square Silk is the overall bestseller, as it is a square of artwork that can be worn as a scarf, hung on the wall or draped over furniture. People buy them for all different purposes or gift them because they are so versatile. With each new print produced, there are new ways to style them and different colours to choose. I’ve also been really pleased with the reception to the new longer style silk, which comes in two designs as part of the Enticement collection: Boto and Capuchin. They are great for wrapping around the neck and show off the print when being worn.