These are some of the words I frantically tapped into my iPhone notes during Fyodor Golan’s stunning London Fashion Week presentation: ‘tender, ferocious, glitchy, primal, diverse’. The words hit me in digital waves, a helpful metaphor for a presentation that opened with a CGI film in collaboration with Miximaliste that cast avatar models hovering above water and interacting with each other in a tender and glitchy way, creating a warm and poetic narrative about nature, technology and design.
This piece of CGI fashion film art, entitled ‘Change of Paradigm’ portrays a fantasy world described in the show notes as “an artificial FG paradise”, and is the first step in Fyodor Golan’s journey to fully digital design and specification of garments pre-sampling, removing the need to toile. Ultimately, they would no longer sketch the designs and make a paper pattern and mock up a the garment in fabric – this would be done digitally – streamlining and speeding up their design and development process and allowing their creativity to run wild. This new digital process will also enable Fyodor Golan to create seasonal experiences, testing the relationship between fashion, fantasy and reality.
Fyodor Golan X Miximaliste ‘Change of Paradigm’
The multicoloured avatars gave way to a live presentation of the SS17 collection on models packing a serious punch that left the marks primal, attitude and fearlessness in their wake. This was an expression of the beauty of diversity as much as it was about fashion, technology and new presentation formats. Fyodor Golan are pushing all sorts of boundaries – I viewed their presentation twice to take it all in. A fashion journalist from the Czech Republic was enjoying his third viewing when we struck up a conversation.
Amongst my aforementioned frantically typed notes I also wrote ‘so much direction here’, which, simplistic as it is, serves to remind me that the strength of vision in the film-making, use of colour, styling, casting, set design and sound made this presentation a force of fashion, technology and nature. The collection is an extension of pre-SS17, which I wrote about previously on Techstyler, with its inspiration rooted in holographic pop star Hatsune Miku, making their avatar model concept a ‘natural’ extension of their pre-season inspiration.
The hybrid hiking trainers by Salomon led me to imagine a place where these models might scale epic heights, conquering the next frontier of fashion tech and leading an intrepid journey forward into digital fashion’s future. I can’t wait to see how Fyodor Golan bend tech to their will to present the next installation on their fashion tech journey.
Golan Frydman, Fyodor Podgorny and a presentation guest, backstage
Often looking inward (and perhaps gazing too much at it’s own toned, teenage-model navel), fashion, for all the illusion of creativity and dynamism that it exudes to a captive public audience, is, in reality, largely conservative. “I don’t see much innovation in fashion” says Martine Jarlgaard, ex-Vivienne Westwood Red Label Head Designer who has also designed for All Saints and Diesel. It’s a broad professional backdrop from which she launched her brand Martine Jarlgaard London in 2014, and is presenting for the first time in an immersive ‘mixed reality’ experience on the official schedule at London Fashion Week in September 2016.
“I wanted to wait until I had a significant reason to present” said Martine, following a long discussion about the current state of the fashion industry and concerns about the environmental impact of mass production and waste in the garment manufacturing industry. These are concerns that have been simmering for some time and a handful of emerging designers are tackling these issues head on. Martine is one. She is “disappointed with fashion” and feels a universal transparent system that untangles and delineates the supply chain and sourcing of materials is needed so that it is possible for brands and consumers to understand the impact of the materials being chosen and make informed decisions. Many designers, for example, are not aware that some fabrics are created using devastatingly toxic chemicals that pollute and endanger workers and local populations. Currently, this is not transparent. She says it’s time for the fashion industry to be re-envisioned and re-defined and find the investment to create alternatives to the current polluting and wasteful processes.
Martine Jarlgaard London AW15
As this article goes to print I read a piece by Richie Siegel about the expected future domination of Amazon Fashion, despite its current lack of curation and aesthetic appeal to fashion shoppers – a problem now being addressed. Amazon’s pricing model is not based on large margins and sales discounting to shift stock like traditional fashion retailers. Its margins are small, prices are keen and products are produced to fill gaps in the market – an already more ‘sustainable’ and pragmatic model – where a t-shirt costing £5 to produce is sold to consumers at around £6.50, in contrast to a traditional retailer who would squeeze suppliers down to a price of closer to £2 in order to sell to the consumer at £6.50. Since Amazon would potentially sell tens of thousands of units (based on it’s market penetration and 65 million worldwide subscribers) it follows that if the products created by Amazon were sustainably and ethically produced it could trigger a big shift in the current polluting, inefficient, land-fill creating fast fashion sector. Granted, this still may result in a lot of product eventually finding its way to land-fill, but the business model and the motivations are promising, especially if cleaner production methods are employed, and the customer is at the centre of this model. For more information about calculating the cost of fast fashion, see my previous article Fashion Data: Calculating the cost of the fashion machine.
Martine is a curious and impassioned designer with a rich educational background (she gained a BA/MA at the Royal Danish Academy of Fine Arts in Copenhagen and did a stint at Rhode Island School of Design where she studied sculpture, artistic anatomy and anthropology amongst other broader fine art and design subjects, and has always worked in a cross-disciplinary manner. She feels that the solutions and impetus for the change needed in the fashion industry to achieve a level of responsible, sustainable manufacturing will come from outside the industry and that technology will most likely find the solution. Amazon is a technology company, and as mentioned above, looks set to disrupt fast fashion and provide some solutions to production excess and bloated inventories.
Martine and I discuss current examples of big brands tackling sustainability and I mention the Nike Flyknit trainers, manufactured using a single knitting process creating the upper with minimal wastage – no leather tanning and sewing of component layers is required – and it can be manufactured anywhere in the world as it is machine driven. This knitted upper began as a running shoe style and has now been used in a vast array of styles including the classic Air Force One and Nike Air Max. Hershel have just released their ‘ApexKnit’ range of backpacks using the same knit technology and other product lines will surely follow. Digital knitting provides a solution that creates superior design, comfort, wearability and sustainability. Maybe that’s the key. The sustainability looks like a bonus here, as the design and product performance is enhanced AND the product is sustainable. It is also cheaper and easier to develop and iterate, therefore creating a far superior solution to the old leather, fabric and foam uppers made of many components requiring man power for stitching and assembly.
Top: Nike Air Force One – Middle: Nike Air Max – Above: Herschel ApexKnit backpack
Martine mentions being inspired by Nike’s presentation at the Copenhagen Fashion Summit in which they explained the commercial and sustainable success of FlyKnit, achieved through technology and innovation. Martine later clarifies that Nike displayed a rare level of honesty at the summit, expressing frustration with the slow pace of change towards sustainability in the fashion industry. She happens to be wearing a pair of flyknit trainers during our interview, along with a gorgeous pinky, fleshy shimmering silk peaked slash neck blouse from her AW15 collection.
Martine Jarlgaard London AW15
We discuss luxury fashion in this context and when Martine mentions the apparent lack of desire for true innovation in this sector our discussion leads to a lack of cross-disciplinary teams in luxury fashion and a persistent uniformity and conservatism. Where a team’s perspective is limited, perhaps the resulting creative expression through product is too. It’s difficult to find varied perspectives on solutions to creative problems if every team member has a similar professional experience and background, which tends to be the case in the luxury fashion sector.
Since launching her brand, Martine has used a combination of sustainable, recycled and surplus fabrics from luxury mills in Italy. Her design philosophy is to create garments with a lifespan beyond one season, that are made to the highest quality, with a minimal aesthetic and an element of the unexpected. She explores the tension between minimal and maximal so that her pieces have a personality and cites sculptural three dimensional creation of the garments as a driver for the silhouettes.
Martine Jarlgaard London AW16
Martine’s SS17 collection will launch at London Fashion Week on September 17th with a mixed reality experience using Hololens, in collaboration with DoubleMe, who provide a novel 3D capture system, HoloPortal, that converts 2D videos into dynamic 3D models in real-time and supported by the Fashion Innovation Agency. Hololens is a headset that projects a hologram in front of the wearer and allows them to interact with it by walking around it and moving nearer or farther, giving a truly immersive and personal experience dictated by the wearer. Martine’s collection will be presented via Hololens, meaning technically, it could be viewed by anyone in any location who possesses the headset, and physically in an accompanying garment presentation at the W Hotel London, marking the first ever holographic 3D mixed reality fashion ‘show’ for want of a more appropriate word. So why this rather than a fashion show? The fashion show format has barely changed since its inception in the early 1900’s and does not allow any kind of personal experience with the clothes – it is passive – as is much of the interaction in the way fashion is presented. There is a lack of true engagement when sat at a distance viewing clothes zoom past on a runway and in a matter of minutes, the whole experience is over. The format of a fashion show is also restrictive in that there is an intense build-up and planning and a huge team required to deliver a show to very tight deadlines within a remit that can curb the creativity of the designers and restrict the selection of garments shown, as outlined in a recent interview with London-based designers Fyodor Golan.
Microsoft Hololens – experimenting with car models in mixed reality
Martine found complete synergy with Hololens because it allows her to work across disciplines with their digital team and create a 3D experience befitting her sculptural design approach. Here, the presentation format is symbiotic with her design approach and affords her the opportunity to showcase that and tell a story which can then be navigated from the viewer’s perspective, making another leap forward in our journey to the experiential as a form of fashion presentation. Crucially, her buyers are “super-excited” about the presentation format. Fashion is changing, albeit slowly, and it feels like Martine is at the foot of what will ultimately be the crest of an experiential fashion wave. She plans to work with this technology for coming seasons, declaring that this is in no way a one-off, but rather the beginning of an exciting journey to differentiating her brand in an intelligent and meaningful way and raising awareness of her successful creation of sustainable luxury fashion.
Fyodor Golan are somewhat of a paradox – at once intellectual and playful, they traverse the fringe of a fashion industry in a state of flux. Whilst contemplating the structure and aim of their fashion business, they are questioning the importance of individualism in a sea of rampantly ‘cohesive’ and highly refined fashion. The designers open the interview with the revelation that they delayed their seasonal trip to their Paris showroom in order to vote in the referendum. The fallout from the vote in favour of ‘Brexit’ has left them with a sense of resilience in the face of potential EU funding losses. Many of the projects and initiatives they have undertaken whilst establishing and growing their business have been supported by EU funding and they predict a Darwinian ‘survival of the fittest’ situation will ensue amongst young independent fashion designers in London who are struggling to create seasonal collections and remain solvent.
Where this dramatic and uncertain political climate could potentially trigger cautious conservatism, Fyodor and Golan are intellectually and pragmatically assessing all areas of their business and considering the needs of their customers and the best platforms with which to engage them. They resolve to stay ‘individual’ and adopt an ever more digital and tech-driven approach to their seasonal collections. Why do a show at London Fashion Week that draws vast energy and finance away from the business and requires the creation of some garments that they know will not be good sellers, but that are necessary in order to create requisite looks simply for the purposes of the show? If the show is to the clear detriment of their product offering and bottom line, what is the point? The vast press generated by a fashion show is well documented and, as any fashion designer involved in London, New York, Paris and Milan fashion weeks will tell you, the credibility gained from showing on-schedule during fashion week is immense and affirming – at least ostensibly. But the rise of social media has taken fashion out of the hands of the few and placed it in the hands of the many global consumers. Digital platforms have a life beyond a seven-odd minute fashion show during which time it is ‘impossible to see the clothes properly’ as noted by Fyodor. In summary, fashion shows aren’t fit for purpose and the stigma attached to designers who decide to no longer ‘show’ is waning.
With new presentation platforms comes new opportunities for self-expression and consumer interaction. Golan explains how insightful and inspiring the dialogue from client to designer is on Instagram. Their clients post images of their self-styled ‘FG’ looks, thereby contextualising Fyodor and Golan’s seasonal work – a dialogue that never occurred pre-social media when the only route to market was through wholesale accounts – meaning no direct contact between the designer and the consumer. That’s all different now and brings me back to questioning the point of ‘cohesiveness’ of a fashion collection.
The generally accepted framework for the study and application of fashion design that I, and many other designers have experienced at London/UK-based fashion design institutions, hinges on a refined, highly focused – ‘cohesive’ – presentation of a design concept/concepts in order to ensure that a specifiable ‘aesthetic’ is presented. This occurs to me to be a useful tool for categorisation and identification of a designer or brand for the purposes of critique, but may be at odds with the way fashion is best presented, experienced and consumed in a digital age.
Cohesive uniformity – Burberry Prorsum SS13
Sure, brands like Burberry are built on a largely singular aesthetic/design language and their merchandising depends on a sort of ‘cohesion’, but what of the explosion of Vetements against the backdrop of such ‘cohesiveness’ and singularly focused vision – and what of the conversation about this collaborative, multi-faceted and un-cohesive aesthetic that is starting on social media (of course)? Will cohesiveness and a singular aesthetic vision be relevant to millennials and Generation Z’ers? If they’re shopping online and creating individual looks according to their own vision, and Instagram and Snapchat are ultimately more influential and engaging and more readily consumed than fashion shows, what is the point of cohesiveness at the expense of alienating consumers? And again, if fashion shows continue to lose favour as the predominant presentation format, individuality becomes an even more powerful element of fashion’s presentation. Fyodor Golan question this uniformity and go on to state that they have never sought ‘cohesiveness’ in their collections, but rather the creation of clothing as a vehicle for self expression and fun for their broad customer base, whose age group spans four decades and is global. It could be argued that cohesiveness can kill creativity by stamping out individual expression, spontaneity and the charm of the unexpected – a fate unlikely to befall Fyodor Golan.
Vetements P/E 16
On the subject of individualism in an increasingly ‘global’ market the duo explain, ‘Our clients come to us to express a different side of themselves… they have serious, professional jobs and wear Fyodor Golan as a way of tapping into their personality and as a visual representation of that (fun) side of themselves’.
Fyodor Golan’s creations are seriously fun. Frothy? Yes. Flimsy? Definitely not. The products are underpinned by solid, quality-driven construction techniques employed since the launch of their label (which drew heavily on couture techniques initially) in 2011, and have evolved to express a sense of confidence through playfulness.
Fyodor Golan SS2012
A further discussion that touches on current challenges in the area of fashion tech centres on product design versus fashion design. Golan expresses the frustration at being restricted to short development times due to the seasonal nature of the fashion industry and longs to be able to explore design concepts in greater depth – as a product designer would, for example. The approach through product design of creating a perfectly formed, functional and beautiful object is a luxury that just may be possible once Fyodor Golan have broken free of the restrictive cycle and demands that come with staging a fashion show each season. Fyodor and Golan lament the unresolved design ideas that ping into their minds at that last evolutionary design stage – often the week before their London fashion week show – leaving them no time to see these ideas through to fruition because of limitations caused by show preparation and the restrictive need to create ‘looks’ for the show, rather than individually strong and exciting garments. Due to the seasonal nature of fashion, the scope to pick up and continue such ideas in following seasons does not always present itself. There is a serendipitous aspect to such ideas and sometimes, when the moment has passed, the opportunity and magic passes too. Essentially, dropping the traditional fashion show format allows the freedom and time to be more innovative. It’s during this stage of the interview that Golan mentions the Makerversity, which is situated near their studio in Somerset House, which has clearly provided a point of reflection for the designers where the process of product design and development is concerned, versus that of fashion.
Fyodor Golan Pre-SS17
In their Pre-SS17 collection, Fyodor Golan have furthered explored a number of concepts initiated in their AW16 collection, including hybrid sportswear with strapping and bows that are silhouette-changing, rather than simply surface details. This plays into their desire for individuality within the collection – so one garment has many guises depending on the wearer’s styling preferences. The collection, entitled “Sakura Kawaii’ was inspired by Hatsune Miku – a hologram-generated pop star – resulting in a collection that expresses “romance through plastification”. It’s surreal to see real live fans at the concert of a holographic pop star screaming and waving glow sticks, but it perfectly illustrates the blurring of lines between reality and artificiality that Fyodor Golan have distilled into this collection.
The animated look book is the perfect expression of this darkly psychedelic-samurai mood, in collaboration with digital artist and animator, Ignasi Monreal. Part of the joy of Fyodor Golan’s look books is that they seek to excite the imagination, rather than simply sell, and it expresses an aesthetic that the designers describe as resolutely ‘digital’.
Fyodor Golan Pre-SS17
The digitally driven playfulness in the presentation of their Pre-SS17 collection causes me to speculate as to the format of their next fashion presentation for London Fashion Week in September. ‘We’re still exploring options’ and ‘we’re looking at integrating the process of creation into the presentation’ were the official standpoints at the time of our interview – suffice to say it will be an exciting, experimental and likely experiential offering that will gloriously break with tradition in yet another refreshing Fyodor Golan chapter. It’s an exciting time in an evolving industry where as many lessons come from Darwinian truth as they do from social media metrics. If fashion’s future is about creative adaptation, dynamism, freedom of thought and individuality, Fyodor Golan are surging ahead.
A recent visit to Ravensbourne has catalysed a shift in my opinion of ‘fashion tech’ as a discipline and led to an animated discussion around the reasons for the aesthetic gulf between fashion design and technology. The reason for my visit was the European Space Agency initiative, ‘Couture in Orbit’ – a fashion show at the Science Museum in May, featuring the work of five fashion colleges in Europe: ESMOD Paris, ESMOD Berlin, Fashion Design Akademiet Copenhagen, Politecnico di Milano and Ravensbourne London, which set about planting creative seeds for what will become a necessity – fashion in space. The colleges worked to a brief set by the ESA to present ideas and prototypes for fashion and accessories in the coming age of space travel. In response to a number of nasty and aggressive comments on their YouTube page in response to a video of this initiative, the ESA wrote this:
Couture in Orbit is a student outreach project. The students are using materials and technology in their designs that are a spin-off from the space industry. Each school had a theme linked to an astronaut’s mission, such as environment, health, sustainability, and their final designs had to have practical benefits for life on Earth. No funds were exchanged and material and technical support was provided by Tech startups.
Yes, the designs could be seen as somewhat ‘amateurish’ and ‘costumey’ in their concept and presentation and describing them as ‘couture’ and ‘fashion’ is not strictly accurate, however the idea here is key. Fashion’s robust approach to design and creation of cohesive, refined collections does not allow for this kind of playful theatrics, but if fashion and tech are to advance there has to be some latitude where the end result is concerned. It makes no sense to judge this by the same standards as a show at London Fashion Week, for example, which exists for an entirely different purpose and is part of a totally different creative and commercial conversation. The YouTube comments demonstrate an attitude that demeans the validity and power of fashion that I have seen previously hinder cooperation between fashion, science and tech sectors, but we will forge forward regardless.
‘Couture in Orbit’ designs
‘It is inevitable’, said Ravensbourne students Farid Bin Karim and Sam Martin-Harper of the fusion of fashion and technology in clothing to come. Their view was the same of space travel – we know for certain there will be inhabitation of other planets and commercial journeys to space, so we need to design clothing fit for space life. The brief provided to the students by the ESA included an array of materials for them to use in their garments and accessories, including Sympatex, woven fabrics by Bionic Yarn and 37.5. Being presented with a fixed set of materials is challenging from a design perspective, as fashion design often begins with selection of a fabrics to complement an aesthetic or theme held by the designer. Removing this from the designer’s creative point of view throws up further challenges and provides experimental opportunities. Karim leads me into a discussion about Design Fiction, a framework based on critical design which is the foundation of his speculative design approach on the Wearables MA course at Ravensbourne. The modelling of future scenarios using design fiction provides a robust outline for predicting what fashion design could be in an age of commercial space travel, for example. Karim selects three modes of technology – one that exists but he can’t access, one that exists that he can access and one that we can reasonably deduce will exist in the future – with which to begin to form a fashion tech product design scenario. This Design Fiction framework and critical design, attributed to Julian Bleecker and Dunne and Raby respectively, and adopted widely in London as a modelling tool, begins to give me insight into how design for a future that we can’t yet imagine is conceivable and believable.
Farid explains that his self-closing helmet and kilt are inspired by sojourners travelling to space and creating their own exoplanet. His concept hinged on the sojourners creating protective barriers around themselves that responded to atmospheric changes to give visual notifications allowing them to react and adapt. His self-closing helmet is powered by muscle wires and his kilt, printed in collaboration with print designer and MA fashion student Laura Perry, has heat responsive ink which disappears at certain temperatures – a useful visual notification when things are hotting up. Farid also used a UV responsive pigment – another useful visual alert. Karim’s work is inspired by an array of creatives including artist Lucy McRae, writer HG Wells and movement artist and coder Nicola Plant.
Heat applied by the palm of the hand causes the ink to temporarily disappear
UV source applied to printed fabric
Visual alert to excessive UV rays
Farid Bin Karim’s self-closing helmet and reactive ink kilt, in collaboration with Laura Perry
Sam Martin-Harper presented an altogether more nostalgic proposition in which she expressed her belief (and hope) that we will always remain rooted to earth. Her love of biology and particular interest in the techniques for growing plants on the International Space Station, including the work of astronaut Tim Peake, drove her to create a 3D printed neck piece containing plant life. Admitting this is a conceptual piece, Sam explained how she used inspiration from the ingenious folding joint sections of space suits to inform the shapes and details of her design. Sam is completing her BA and is still exploring career options. One thing is for sure, she cannot see a future of fashion without the integration of tech.
Sam Martin-Harper’s 3D printed plant-filled neckpiece at ‘Couture in Orbit”
A discussion on the future work of Farid centres on his passion for data as a tool for creating responsive and adaptive design. He has been learning coding and electronics as part of his Wearables MA and sees future fashion as an extension of the individual – as ‘body centric’. On graduation, Karim is hoping to work with a multi-disciplinary research facility to conduct collaborative research and design. When I ask if he would consider a traditional design job (he is a fashion graduate, after all) he reflects on how he has had to unlearn and relearn aspects of his design approach through his Wearable MA training in order to realise his part industrial, part fashion creations. It’s clear he’s happier in unchartered territory.
The discussion turned to couture and obsolescence. Karim is curious about the possible inclusion of technology in couture techniques in order to aid their survival, but this is completely at odds with the fact that couture means made by hand. This meaning of couture would therefore need to change for this to happen. I ponder a possible alternative in the form of technologies so specialised, rare and unique that they create a techno-couture instead. Here we begin to think about fashion and design being driven by technology, rather than the other way around.
In these discussions, as Alexa Pollmann, Course Leader of the MA Wearable Futures course, points out, it is important to consider the designs of Sam, Farid and the other students from Ravensbourne as proposals and prototypes – not final ‘fashion products’ per se. Ask any fashion designer working in the industry today their opinion of fashion tech and they will overwhelmingly tell you that it is gimmicky, ugly and not desirable. Herein lies the chasm between tech and fashion. Looks really count, and so does magic. Fashion designers bring an ephemeral quality to their creations, says Alexa. Fashion designers dream up and articulate experiences better than any other design discipline. They create magic in a way that is often so difficult to define it just feels ‘right’. Fashion is entirely subjective and indisputably powerful. For these reasons, Clive Van Heerden, co-founder of vHM Design Futures studio in London, which develops materials and technologies for a host of Wearable Electronic business propositions in the areas of electronic apparel, conductive textiles, physical gaming, medical monitoring and entertainment, insists on having a fashion designer in his creative team on all projects.
Designs by students from Politecnico di Milano
Designs by students from Ravensbourne
But why are fashion designers resistant to incorporating tech into their designs and what is slowing down the advancement of the fashion tech fusion? One factor is that the development of tech-enabled/collaborative products takes considerable research and development, and therefore time. It requires dedication to solving specific problems related to firstly a single concept or product, which is at odds with designing, sampling and creating whole fashion collections which are visually cohesive within a strict time frame (weeks or months at most), which then have a finite sales period before the next collection is created (making the current one obsolete, for want of a better word) and the cycle continues. The traditional cycle of two main collections per year for high end fashion labels has switched to four in recent years, meaning there is even less time for research and development. Knowing this, it is easy to see why the work of fashion designers is at odds with the research and development required to incorporate tech, and vice versa. In a previous interview with designers Fyodor Golan, they pointed out that fashion tech collaborations often have a required fixed outcome within a tight time frame, limiting the amount of integration possible. This goes some way to explaining why sometimes fashion tech looks more ‘stuck on’ than cohesively and meaningfully designed and produced.
Read more about the technologies involved in the Couture in Orbit project here
Header image: Farid Bin Karim’s self-closing helmet and adaptable ink kilt at ‘Couture in Orbit’
It’s an insightful and warm conversation that plays out in the depths of Somerset House where Fyodor Podgorny and Golan Frydman, the designers behind fashion label Fyodor Golan, invite me into their temporary studio while their usual one is undergoes renovation. Golan tells me they’re arranging pre-collection production now, then beginning their main line production before moving onto designing the AW16 collection, which launches at London Fashion Week in February. Phew! The fashion wheel keeps on turning…
Production at the Fyodor Golan studio
Fyodor points out very early in the conversation that the fashion industry has changed dramatically since their Fashion Fringe launch seven seasons ago. Their evolution as designers and as business owners has been just as dramatic. They began by making restrictive, complex couture and changed direction when they gained global attention and realised that one Fyodor Golan woman did not exist – there are many. She comes in all shapes, sizes and ages and she doesn’t want to wear a corset. The philosophy of making their clothing lighter and easier sits well alongside two designers who are natural, pragmatic and thoughtful. Their customers speak, they listen.
Fyodor explains that the internet explosion and uptake of social media means that the old system of designers dictating whole customer ‘looks’ died with Instagram’s birth and has fertilised the Fyodor Golan brand’s growth. It’s safe to say they are happy with fashion’s democratisation and credit fashion bloggers and clients styling their own looks on social media as sources of inspiration, revealing their fashion personalities and breaking down the ‘whole designer look’ phenomenon.
They gain new clients across the globe who contact them directly for special one-off pieces or to purchase garments directly on the strength of an Instagram image. This is a powerful tool and leads us to contemplate whether the relentless pre-prescribed fashion industry collection schedule makes sense. Do they need it? As a small label they are still responsive and in touch with their clients and that is a strength and competitive advantage. Fyodor explains that he would love to make mini collections every three months, freeing them from the restrictive shackles of fashion’s seasonal calendar. I notice from images and seeing first-hand the constructed textiles of their pre-collection that they are no less ambitious in terms of materials and concepts when creating their pre-collections, in contrast to some designers who approach these as “mainline lite” collections in terms of design and realisation. It’s clear Fyodor Golan don’t take short cuts and invest their energy into realising ideas, not churning out product. I admire them and I admire their ease and resolve. They know exactly why they are creating their collections, and it’s not just for the sake of it or because the fashion calendar says it’s time to churn another one out. They have recently launched resort S/S16, deciding to create one pre-collection per year instead of the standard two, in addition to their two mainline collections (Spring/Summer and Autumn/Winter) so that they can maintain some balance and not stretch themselves too thinly.
Fyodor Golan Resort S/S16 postcards
This leads us to a discussion about the recent exit of Raf Simons and Alber Elbaz from their fashion design and creative directorships of Dior and Lanvin respectively. As admirers of both designers, Fyodor and Golan discuss the unrealistic expectations on such designers to conceive and oversee the execution of upwards of eight collections a year, plus accessories, fragrances and in some cases retail spaces. Being spread too thinly kills creativity. We know it and have experienced it. Golan wrestles with it when having to abandon concepts for collections part way through the development phase because he does not have the time and means to see them through. He talks of being forced to wade through admin work and arrange business transactions in order to meet responsibilities to staff and suppliers – people have to be paid on time – leaving his unrealised ideas lingering. It’s a tough and bitter pill that leaves doubt in the mind of a designer as to whether they have accomplished what they set out to and whether their vision has evolved into full bloom. The idea of the creative exploration being curbed too soon is a brutal one, especially considering a collection takes up to six months to create and is presented in around 6 minutes on the runway. If you don’t get to finish your sartorial sentence it’s an all too abrupt ending.
Fyodor Golan have embraced technology and the changing fashion landscape more than most. By launching a smart phone skirt collaboration with Nokia Lumia and a Microsoft-powered runway show with an impressive pyramid installation displaying projections from Nokia Lumia cameras in the front row, they have been at the frontier of experimenting with how tech gadgets can interact with fashion. Their forays into combining fashion and technology have been facilitated by the Fashion Innovation Agency, spearheaded by FashionTech stalwart Matt Drinkwater.
Fyodor Golan x Nokia Lumia smart phone skirt in collaboration with research and design studio Kin
SS15 FG x Microsoft + Nokia Lumia
Both designers are at ease combining fashion and technology, but also recognise its current limitations. The limitations they cite come as a shock. Where previously I believed the lack of collaboration between technology and fashion designers lay with the designers’ lack of affinity for tech or a mismatch between the tech and the textiles or aesthetics, what it truly comes down to (at least in part) is the insistence on a new product outcome within a very short and strict timeframe. One year to innovate and create a whole new fashion tech product? “How is that possible?” asks Golan. The expectation of technology companies during pre-collaboration discussions with Fyodor Golan has been to create a new tech-driven product to sell within 12 months. There appears to be a lack of appetite for experimentation for its own sake and for exploring long-term, ambitious and integrated fashion tech innovations in this collaborative environment. Maybe that’s why fashion and technology aren’t integrating seamlessly and desirably yet – at least in the wearables space.
Fyodor and Golan are experimenters with spirit. They have a penchant for grabbing familiar references and layering textiles in a way that captures the imagination. Their clothes are bright, bold, fun and attractive. They’re highly tactile and attention grabbing. It’s hard to imagine not feeling happy and celebratory wearing their printed, vinyl, ruffled neoprene shift dress with neon trims. It’s a recognisable silhouette, making it firmly wearable, but it’s shaken off any shift-dress dowdiness by way of neon trims and chunky metal zips and the unexpectedly successful pairing of roses, ruffles and neoprene. SOLD!
Their latest SS16 collection, which launched at London Fashion Week, evolved out of an existing collaboration with toy maker Hasbro. The designers used My Little Pony as inspiration for their A/W15 ‘Rainbow Wheels’ collection and when offered the chance to delve into the Hasbro Transformer archives for S/S16 they grabbed it.
Unfortunately I’m not able to view and publish those original images, suffice to say that the bright colours and bold transformative nature of Transformers comes through at least in the spirit of the collection, and through the Transformer-inspired prints on sweatshirts. Being in the priviledged position of seeing never before published Transformer sketches the collection spontaneously erupted into a cacophony of colour and graphics.
Golan and the ‘front row’ Transformer
FG x Kat Maconie S/S 16
A smattering of Geisha-inspired silhouettes and accessories (the shoes were a collaboration with Kat Maconie) give gravity to the playful colours and prints. The indigo pieces are a personal favourite and appear to ground the collection amongst the flurry of digital prints, vinyl and colour.
S/S 16 London Fashion Week Show
Fyodor Golan is the unexpected. The designers themselves define it as ‘a spirit’. I define it as a breath of fresh air. They’re as candid as their clothes. And that’s rare.