48 posts tagged "Central Saint Martins"
Why I Loved Louise Wilson: Katharine K. Zarrella Remembers What It Was Like to Be Taught by the Fearsome, Brilliant, and Irreplaceable Fashion Educator-------
I woke up to a devastating e-mail from Roger Tredre, my Central Saint Martins graduate tutor, this morning. “Louise Wilson has died,” read the subject line. “This is a great shock,” the message continued. “A very sad day.” Wilson, the revered Central Saint Martins Fashion MA course director, passed away in her sleep on Friday night. She was 52.
It is a sad day. Not only for the Saint Martins students fortunate enough to have been yelled at by the at once feared and adored professor, but for the fashion industry as a whole. Wilson, who was known to have some, let’s call them “unorthodox” teaching methods (screaming profanities was the least of it), helped mold many of the most brilliant design talents of the last twenty years. Alexander McQueen, Christopher Kane, Jonathan Saunders, Mary Katrantzou, and more all at one point stood (and probably cried) in her whitewashed office, the walls of which were covered in thank-you notes from graduates and heavy-hitting designers like Lanvin’s Alber Elbaz. He was a friend of Wilson’s who often came to speak at the school at her request. Such was the irreplaceable educator’s influence in the industry: While she was a force to be reckoned with—and a terrifying one at that—she was beloved by alums and movers and shakers alike. No one said no to Louise Wilson—not because they were afraid to, but because they didn’t want to.
I studied on the journalism pathway of the Central Saint Martins Fashion MA from 2010 until my graduation in 2012. And while I refused to admit it at the time, I was scared shitless of Louise. I remember the first day of my two-year stint at the school, when she walked into a room filled with aspiring journalists and designers and invited them to ask her questions about the course and the industry in general. It took a good while for anyone to come forward, thanks to Wilson’s famously intimidating presence. Eventually, I sheepishly raised my hand and inquired about her thoughts on a pair of American designers who were particularly hot at the moment. She leaned on the desk, looked me straight in the eye, and said, “Not much,” before taking the next question.
That was Louise’s way, both in conversation and education. She was refreshingly blunt, funny in the borderline offensive way that only the English can be, and had the ability to teach you more about not only fashion, but life in one terse sentence than most could in a decade. All eight of the students on my course initially thought Louise hated us. And who knows, in the beginning, she may have. She told us that we were “visually blind,” that we spat out too many words without saying anything, and, as a classmate noted today, she taught us that we needed to go to the design studio, not just the classroom, to learn how to be good fashion journalists.
I’ll never forget when I walked into her office to present the first draft of our class newspaper, The Central Saint Martins Journal, which was set to be distributed during the Fall ’12 CSM graduate show at London fashion week. Needless to say, she had her reservations (we were visually blind, after all) and wanted to ensure our work was fit to sit alongside that of her designers. At first, it wasn’t. She told me that the draft looked like a “venereal disease,” and proceeded to scream about writers’ lack of attention to aesthetics and the poor state of journalism for a solid forty-five minutes before dismissing me. After weeks of deliberating and arguing, the class decided that Louise’s disapproval only made us want our paper more.
She was surprised to see us back at her office door two months later, a second draft in hand. With a little guidance, we finally got her stamp of approval (we weren’t allowed to use any images, and our cover was blank, but that’s beside the point), and the final result still sits on my bookshelf. At the CSM show’s after-party, Louise gave me a hug, put her hands on my shoulders, and said, “Did you see it? It was on the seats!” before walking up the stairs of the since-shuttered London outpost of Le Baron nightclub.
That’s another thing about Louise. She didn’t wash her hands of you after you stepped off campus. Until her death, she attended many of her students’ fashion shows—I’d always see her backstage in London offering praise and, sometimes, advice to the likes of Louise Gray, Richard Nicoll, and Simone Rocha. She may have tortured them at Saint Martins, but she was there for them until the end. “She was a truly brilliant teacher because she showed students how to make ordinary work into extraordinary work, and took them on the journey with her,” recalls Tredre. “It was tough love all the way with Louise, but that tough love was, she believed, the best preparation for the real world.”
But it wasn’t just that Louise wanted her students to be prepared for the unforgiving beast that is the fashion industry—she wanted them to put their whole selves, and their best selves, into each stitch of their designs. She hated unnecessary flash; privileged, unwarranted arrogance; and, most of all, laziness. Nothing but heartfelt, sweat-infused perfection was allowed on the CSM fashion week runway. And given the caliber of collections we’ve seen year after year, her high standards paid off.
While I wasn’t as close to Louise as her design students, I still can’t begin to list all that she taught me. We don’t have the bandwidth. One thing I will say, though, is that her approach was flawless. For instance, during my final year, I needed to interview her for a story. She thought my questions were absolute crap and, as punishment, gave me only one-word responses. (Even so, they were some of the best answers I’ve gotten in my journalistic career.) Ever since, when preparing for an interview, I think to myself, Would Louise answer this? before settling on a query.
“There’s a phrase, ‘All fur coat and no knickers,’” Louise told me during a 2011 interview for Style.com. “Saint Martins has always focused on the knickers.” With that in mind, I’d like to say thank you, Louise, for helping me, and so many others, find our knickers.
Professor Louise Wilson, the renowned Central Saint Martins Fashion MA course director who launched the careers of former students like Lee Alexander McQueen, Christopher Kane, Jonathan Saunders, Richard Nicoll, and more recently Simone Rocha and Craig Green, has died. She passed away in her sleep last night while visiting her sister in Scotland. She was 52.
A Saint Martins grad herself (she was lucky enough to have Ossie Clark as her tutor in the eighties), Wilson worked at the London-based college from 1992 through her death, taking a brief hiatus in the late nineties after being headhunted by Donna Karan. She was famed for her brash, often outrageous teaching tactics and outbursts, though her dedication to her students was never questioned—Wilson would consistently go above and beyond to help them grow, succeed, and earn placements at such houses as Lanvin and Balenciaga.
Wilson had been in poor health for some time due to breast cancer. She leaves behind her partner of more than thirty years and their son. Wilson was not only a pillar of the London fashion community—she was a veritable institution and inspiration for designers and fashion lovers worldwide. Many of today’s greatest talents owe her a huge debt of gratitude. She will be sorely missed.
Everyone knows their Marcs from their Calvins. But as fashion month rolls on, we’ll be spotlighting the up-and-coming designers and indie brands whose names you’ll want to remember.
Label: Faustine Steinmetz
Need to know: Parisian designer Faustine Steinmetz previewed Fall 2014, her third collection, this London fashion week in the NEWGEN showrooms in Somerset House. Steinmetz graduated from a starry Central Saint Martins MA class in 2011 that included Marta Marques and Paulo Almeida of Marques’Almeida, Phoebe English, and Maarten Van Der Horst. Since then she has worked steadily from her studio in East London, placing an emphasis on new and different ways of using yarn, shredding, curling, and embroidering her way to a unique fabric.
For Fall, Steinmetz turned her focus to hand-weaving, with a range of singular reworked garments that looked deceptively familiar. Up close, one Burberry-esque trenchcoat turned out to be a blend of rayon and copper, and what looked like classic blue jeans could in fact be scrunched together and adjusted to the body. “I wanted to reproduce the everyday pieces and give them an almost haute couture feel,” she told Style.com, grabbing a handful of mock-blue denim to demonstrate the pliability of the unusual weave. Steinmetz collects vintage Issey Miyake wares, and this collection was inspired by Miyake’s Pleats Please collections, particularly in how they blend wearability with the conceptual.
She says: “I love deformed things and the uncanny,” Steinmetz explained. “I think it’s really interesting when you see something that you know very well, but then it’s suddenly made in a different way. Anything that takes you a second to see and that challenges your perception fascinates me.”
Where to find it: LN-CC in London; Optitude and Isetan in Japan; and in the U.S., exclusively at Opening Ceremony.
You may remember Steven Tai from Spring ’14′s VFiles show, where the 29-year-old Central Saint Martins graduate presented his crisp range of sporty, silkscreened looks. But winning a spot in the fashion platform’s debut runway event isn’t Tai’s only claim to fame. In fact, the talent, who’s based in London by way of Macao, had been making the rounds in Europe and Canada for over a year before the VFiles romp. In 2012, his visually simple but technically mind-boggling designs won the Chloe award at the prestigious Hyeres festival; he’s been invited to show everywhere from Berlin to Toronto; and he’s already amassed a healthy crop of international stockists, VFiles, Canada’s Holt Renfrew, and London’s 125 Brick Lane among them. Tai now seems poised for fashion stardom, so it’s somewhat ironic that he spent most of his childhood trying to escape the garment game.
“My family did manufacturing for very technical sportswear, like bicycle gear for triathlons,” Tai told Style.com by phone from Hong Kong, where he was researching techniques and textiles. “I grew up around seamstresses and, as a kid, clothing was like the last thing I wanted to do.” However, while earning his business degree in Canada, Tai had a revelation. “I realized that I wanted to do something creative, and at the same time, a friend actually introduced me to Style.com, and the archive just opened up this whole new world for me.”
He enrolled in London’s competitive Saint Martins’ BA program and, when the designer wasn’t in classroom, he did stints at Stella McCartney, Viktor & Rolf, Hussein Chalayan, and Damir Doma.
It’s easy to see that his mentors taught him well. Tai’s work is impeccably crafted using various, unexpected processes. For example, Spring ’14 incorporated laser cutting, silk screening, bonding, and puff paint accents, as well as a fractured pastoral motif. The latter was derived from photographs of a British bio-dome that were abstracted by artist Lola Dupré. “I’m always quite nostalgic for the past, so I wanted to start with something very traditional, and combine it with something technical and futuristic,” Tai explained of the lineup, which was inspired by cross-stitching and glitch art. As for his pared-down cuts, Tai offered, “At Saint Martins, nothing you can do is crazy enough. I learned from that, but it’s important to have a balance. Technology and textiles are the crazy parts of my collection. It’s all about these insane, complicated procedures, and the silhouette stays simple—otherwise, it gets a bit overwhelming.”
Fall ’14 will mark Tai’s first time presenting his wares in a Somerset House showroom at London fashion week. “The collection is a lot more deconstructed than last season,” he hinted. “The inspiration is shredded papers.” To tide fans over between the Spring and Fall drops, Tai has once again teamed up with Dupré, this time to create a range of Pre-Fall sweatshirts that will be available at select retailers and on Tai’s Web site this April. Priced between $296 and $740, the graphic, Swarovski crystal-embellished scuba jersey jumpers debut above, exclusively on Style.com.
Han Chong, the former creative director of contemporary British line Three Floor, feels there is somewhat of a white space between fast fashion and high-priced luxury wares. And this September, the designer decided he was going to do something about it by way of his new line, Self-Portrait. “It was important for me to launch Self-Portrait and create something that is sophisticated but still attainable for customers,” the Central Saint Martins-trained, London-based talent told Style.com. His eighteen-piece debut collection is all that and more. Priced between $97 and $423 at current exchange, the range fuses painstaking details (like the lace appliqués on trumpet-skirt frocks) and streetwear styles (think laser-cut tees and oversize bombers) to fresh and luxurious effect.
“I like to deconstruct classic shapes and develop these into new, more playful and mischievous designs,” Chong explained, noting that he is often inspired by the mix of visual cues he experiences outside the fashion realm (innovative industrial design and cinema, for example). The Spring ’14 outing boasts unexpected uses of sequins, mesh, and lace; a smart faux leather; and silhouettes that are both relaxed and hyperfeminine. And each garment, whether it’s a python-textured crepe skirt, a louche pair of trousers, or one of the designer’s intricate, geometric, multi-material dresses, receives the same amount of attention and care. “Most labels in our price point are based on rather minimal designs,” Chong said. Self-Portrait, however, is anything but.