The world of rebellion and refinement, where creativity knows no bounds and tradition dances with innovation opens for the new generation. Nestled within the prestigious halls of Institut Français de la Mode (IFM), Master of Arts students are here to redefine the landscape of fashion design. In this electrifying interview series, we peel back the layers of inspiration, aspiration and sheer determination driving rising female designers forward. Join us as we roam through the bustling streets of Paris to talk about how tradition meets innovation and the future of fashion unfolds in every stitch.
hube: Could you tell us about your journey into the world of fashion design? What sparked your interest in pursuing a career in this field?
Eva Risueño: Well, my journey into the world of fashion design began in a small knitting club in the Canary Islands. I’ve always been drawn to textiles and the art of creating something beautiful with my hands. Knitting was my first love, and as I delved deeper into the craft, I found myself captivated by the endless possibilities of fashion design. The way a simple skein of yarn could transform into a stunning garment fascinated me, and I knew I wanted to explore this passion further. So, I began experimenting with different stitches, patterns, and techniques, immersing myself in the world of fashion design one stitch at a time. From that small knitting club to dreaming of showcasing my own creations on the runway, my journey has been one of creativity, exploration, and endless inspiration.
Keyin Wang: I did my Bachelor of Fashion Design at the Pratt Institute of New York. Then, I directly started the Master Knitwear programme at IFM. All the female members of my family have been involved in the fashion industry since I was very young. I didn’t have a lot of friends to spend time with at that time, so I always stayed with my family and watched them work. They deeply influenced my decision to join the world of fashion.
Laura Arbault: My passion for fashion was born during secondary school when I started to make my own clothing choices. At the time, I was passionate about metal music. So I naturally developed an alternative style that straddled the line between gothic, punk, and heavy metal. And it’s a clothing heritage that still nourishes me today. I started cutting up my t-shirts and filing and ripping holes in my jeans. I also did a lot of styling, combining pieces to create slightly offbeat looks, sometimes mixing different worlds. It was then that I realised the power of fashion and became passionate about it. I saw it as a unique medium of expression, a way of writing about yourself in the public space. Fashion helped me to build my identity and assert myself in society without having to do it through words. It was these early experiments in textiles and clothing that made me want to pursue a career in fashion later on. I first studied textile design, then fashion. And it was this dual passion for material and shape that led me to specialise in knitwear. I really wanted to be able to make my designs from A to Z, starting with a raw material, a simple yarn, and ending up with a final piece in volume. Alongside my studies, I discovered the world of fashion from the inside during my various internships, and in particular during my work placement at Balmain, in the knitwear studio. What made me want to be part of this industry is the effervescence of the fashion world. I like shaking up codes, I like the idea that a garment can unleash passions, both positive and negative. I love this industry because it brings something to people. I don’t pretend to think that it’s indispensable; I’m well aware that we do not save lives. But creativity, beauty, and commitment are things that make people’s lives more beautiful, more fun, and more powerful.
Marion Pelle: I started my university studies in fine art. I did my BA at La Sorbonne. I always wanted to have an artistic career, I love art in all its forms but I chose to specialise in fashion because of my relation with the body, the norms, and garments. I did a BA in fashion design at Duperré and an MA in knitwear at IFM.
Sofia Saerens: I have spent my teenage years absolutely certain that I would pursue an artistic path, I just was not sure about which medium I would go for. Just like many of us designers, I think it started when I realised there was a sewing machine at home, and it became a tool of creation just like my pencils or cameras. Back then I did not think twice about what attracted me to fabric and clothes, but looking back I think it is all about the sensitivity of the materials, touch is an important part of why I like making clothes. Also, garments are such a huge part of everyone’s everyday life, I like the fact that potentially my designs could be seen by anyone from anywhere, there is an accessibility to fashion that you don’t find in other artistic mediums shown in art fairs and museums.
h: Considering the dynamic interplay between traditional femininity and modern shapes and fabrics, how do you envision striking a balance that honours heritage while embracing contemporary aesthetics in your designs?
LA: I don’t think I’ve ever really asked myself the question before, but now that I think about it, I realise that in my work, I do attach importance to the notion of heritage while embracing a contemporary aesthetic. In my creations, what I seek above all is to question stereotypical representations of femininity. That’s why I often reappropriate iconic garments from the women’s wardrobe, such as the corset, the mini-skirt or the garter belt. And these choices are not just aesthetic. I’m also interested in the symbolism behind these garments, their history, and their historical and cultural heritage. In this sense, my creations are very much a part of the notion of heritage, of using objects that represent traditional femininity. However, I always try to combine my clothes with unexpected, offbeat elements, often incompatible with the heritage to which the garment refers. And it’s precisely this discrepancy that allows me to place my creations in a contemporary creative register.
h: What things or moments ignite your creative spark and drive your passion within the world of fashion?
SS: Trying things on. It might seem like an obvious or stupid answer, but I feel like that is the specificity of making clothes. It is that your creation reacts differently depending on the people wearing it, and it is very exciting to see. I get very excited making clothes that give an attitude, when there is a dialogue between the garment and the person wearing it. That is the beauty of our medium: it gets worn, altered and moved; it lives its own life.
h: How would you describe your design aesthetic or signature style?
ER: My design aesthetic is a reflection of the contradictions and stereotypes of femininity, blending elements of softness and strength, tradition and rebellion. My signature style embraces the complexity of femininity, celebrating both its vulnerability and its power. Through my designs, I seek to challenge conventional notions of what it means to be feminine, creating garments that empower and inspire women to embrace all aspects of themselves with confidence and grace.
KW: I think the feeling of vintage and future are both important in my work. I don’t think it’s contradictory; it’s a fusion of aesthetic and innovative technique.
LA: My creative approach is rooted in an intimate relationship with the female body and gender. Indeed, through my artistic practices, I constantly seek to redefine the codes of a feminine outfit that would shake up the norms of representation of femininity. When Joan Rivière presented her concept of “feminine masquerade” in 1929 as a way for women to negotiate with their own attributes of femininity in order to be accepted in society, she was suggesting that playing or even overplaying one’s femininity, could be a vehicle for emancipation. By deliberately playing with the codes of femininity, in order to stage a “masquerade,” Joan Rivière no longer refers to the passive, frivolous image of femininity. Thus, my creations aim to take hold of feminine dress codes in a way that overplays femininity and engages in a form of “gender performance.” They initiate a reflection on what defines the feminine and how to reclaim it. I’m also very interested in the representation of women’s bodies in art and fashion. That’s why in my last collection, I highlighted curvier bodies than those usually shown in the fashion industry. Through my creations, I aim to create a manifesto of femininity in which stereotypes become a new way of asserting oneself.
MP: I have a particular interest in the relation we have with our bodies and the differences, the rejection and the constraints we can endure as humans. I express myself through savoir-faire but also through art and hand-craft. The delicate, sensitive, and poetic nature of my techniques helps me to give some beauty to something considered by society as upsetting.
SS: I think I want to leave this answer open, as I really don’t confine myself to an aesthetic or certain style. Of course, there is a linking point to all my designs; I have a weakness for delicate materials, soft gradients, and subtle details. But I allow myself to go outside that path also sometimes.
h: When conceptualising a new design, how do you navigate the balance between innovation and practicality? And how does this balance manifest in your creative process and final creations?
MP: I focus on my goal and the message I want to share through my design. I don’t restrain myself; I let my creativity be totally free, especially at the beginning of the project. I don’t really like to impose my limits. Once I start to think in terms of garments, I use the practical aspect to enrich the idea and my message.
h: What emerging trends or innovations in the fashion industry do you find most exciting or intriguing, and how do you imagine incorporating them into your creative work?
KW: I think AI technology will be very interesting in the fashion industry in the future. I know that many brands are using AI to generate graphic patterns now. As a designer, how can I use this technology to get better inspiration and expand more possibilities? I believe it will be a trend in the future.
h: It seems like you made a switch from insect-like designs to dulled and half-transparent gowns. What motivated this shift? What else would you like to explore in the future?
KW: Because as a designer, I started to think about fashion. When I was designing the insect series, I wanted to show my inner world through clothes – a garden of my own. In this graduate series, I was thinking more about who I would sell my clothes to and what my aesthetics are for daily wear. I want to enter the fashion industry. After that, I want to conduct further market research. I hope that my designs are unique and can be sold, which will bring me self-confidence as a designer.
h: As a rising female designer, what challenges have you already faced in the fashion industry?
EV: As a rising female designer, I’ve encountered several challenges in the fashion industry, one of the most significant being the saturation of the market. With fashion becoming increasingly accessible thanks to platforms like social media and online marketplaces, there’s indeed a surge in the number of people aspiring to become designers. This influx can make it challenging to stand out and secure opportunities, especially for emerging talents. Competition for jobs and recognition is fierce, and breaking into the industry often requires perseverance, creativity, and a unique point of view. Finding ways to differentiate oneself from the crowd, whether through innovative design concepts, sustainable practices, or a strong personal brand. Despite these challenges, I remain determined to pursue my interest in fashion design, knowing that each obstacle I overcome strengthens my skills and adds depth to my journey in this dynamic and competitive industry.
KW: It’s always a challenge to find a suitable position in the Fashion World after graduation, whether you are looking for an internship or starting your own brand. The most difficult part is the transition of roles.
LA: What scares me the most in the fashion industry is the place and the representation of women. Inside the fashion houses, although women are very much a part of fashion, they are still in the minority in the most important positions. For example, men are by far the majority at the head of major fashion houses, both as artistic directors and as CEOs. This inequality makes me wonder what my prospects are as a woman designer working for a luxury fashion house. Then, the representation of women is another point. Although there is more and more talk of body positivism, there are still many fashion houses that refuse to break away from feminine beauty standards, particularly in terms of size. I’ve actually tried to talk about this myself in my collection, and I’ve seen how difficult it is to cast curvier models, who don’t spontaneously come to castings because they don’t feel legitimate. By the way, that’s why I myself walked in one of my silhouettes during the show. But I still had to deal with some grossophobic comments afterwards. Personally, I only received positive comments on my Instagram account. But after the IFM (Institut Français de la Mode) show, which was covered by Vogue Runway, Vogue Business published an article on the most size-inclusive shows. The IFM was mentioned and my silhouette illustrated our show. And I could see that people are moving very slowly on the issue of the visibility of midsize and plus-size people. There were a lot of negative and degrading comments, and I find it hard to understand what motivates people to show so much hatred. Paradoxically, this motivates me even more to keep talking about it because it means there really is a battle to be fought.
MP: I think we have to endure the same challenges as women from all industries, but for sure, we are more exposed in the fashion industry to the beauty diktat. Multiple times I’ve been talked about my physique as if it’s more important than my competencies. I don’t really think that it’s necessary to talk about the way I look during an interview.
SS: That is a really broad subject, which of course needs many nuances and time to be well discussed. I think we definitely reached a situation where everyone is aware of this issue, but no one will actually speak out or act on it. It is very hard for young women to be able to highlight very simple problematic situations without being seen as paranoid or obsessive. But the truth is, wherever I go, I can see life is just easier for men. In both schools I went to, they got more help, they got the internships first going out of college, they get hired faster than we do, and then we suddenly realised there are less than 20% of female artistic directors. All my fellow male designers are super talented, but I am convinced that we are as well. Fashion does not escape patriarchy, and everyone needs to change narratives for it to change. As a teacher, stop asking for more work from the girls, as a senior designer, make sure your intern team is equally treated gender-wise. As a CEO, give their chances to women to rule the house. As a man, acknowledge the fact that sometimes opportunity is related to gender, and take a step back. As a woman, get rid of all the internalised sexism in you and support your women colleagues.
h: Technology is transforming the way fashion is designed, produced, and marketed. How do you leverage technology in your design process?
EV: In the ever-evolving landscape of fashion production, the choice between Stoll knitting machines, domestic knitting machines, and hand knitting is a pivotal decision for designers influencing everything from production scale to final product quality. Stoll knitting machines, renowned for their industrial prowess, offer unparalleled efficiency and precision. Ideal for large-scale operations, these machines churn out garments with remarkable speed and consistency albeit at a significant initial investment cost. Their versatility in handling complex designs and stitch patterns makes them indispensable for high-volume production runs. On the other hand, domestic knitting machines cater to smaller-scale designers and hobbyists, providing a balance of versatility and control. These machines, while less efficient than their industrial counterparts, offer greater customisation and affordability. They are perfect for experimenting with different techniques and designs albeit at a slower pace.
Meanwhile, hand knitting remains the epitome of craftsmanship and artistry. Each stitch is meticulously crafted by hand resulting in garments imbued with a unique charm and character. While time-consuming and labour-intensive, hand knitting offers unparalleled customisation and a sense of authenticity that is difficult to replicate with machines.
Ultimately, the choice between these methods hinges on various factors including production scale, design complexity, customisation requirements, and budget constraints. Designers often find themselves navigating the intricate balance between efficiency, creativity, and authenticity striving to find the perfect blend of technology and tradition in their craft.
h: How does the global and international atmosphere at IFM shape your perspective and approach to fashion and your artistic journey?
EV: The global and international atmosphere at IFM has profoundly shaped my perspective and approach to fashion and my artistic journey. Being immersed in an environment where students and faculty come from diverse cultural backgrounds brings richness and depth to the learning experience. The global atmosphere at IFM exposes me to a wide range of design aesthetics, cultural influences, and fashion traditions from around the world. This exposure broadens my horizons and encourages me to think beyond my own cultural context, fostering a more inclusive and globally-minded approach to design. Additionally, studying in an international setting allows me to collaborate with peers who bring unique perspectives and skills to the table. Through collaborative projects and discussions, I gain insights into different approaches to design, problem-solving, and creative expression, enriching my own artistic journey. The global network and connections provided by IFM offer opportunities for internships, mentorships, and industry partnerships on a global scale. These connections not only open doors for professional growth but also expose me to diverse career paths and possibilities within the fashion industry. Overall, the global and international atmosphere at IFM inspires me to think creatively, embrace diversity, and approach fashion as a truly global art form. It encourages me to push boundaries, challenge conventions, and contribute to a more inclusive and interconnected fashion community.
KW: IFM provides a good employment atmosphere. When we are doing projects at school, we will start to think about our future careers. When the teachers guide us, they will also think about the actual market – how the style of a student will fit the fashion world.
LA: You know, to be honest, in the knitwear section of IFM, you’re in a bit of a microcosm. The pace is very difficult, we’re on our knitting machines all day, so it’s hard for me to talk about the overall atmosphere at IFM. On the other hand, it has greatly strengthened our bonds within the knitwear section. We were ten students with very different creative backgrounds. This is of course linked to our personalities, but also to our cultures. We all came from different countries and different schools, and this has obviously influenced our sensibilities, our tastes and our creative universes. And the fact that we all lived together, every day in the same room, evenings sometimes until 11 pm and weekends too, has strengthened our bonds. We have become very close, almost like a little family. We laughed together, cried together, partied together, travelled together, knitted together, and discovered more about each other’s cultures. I’m not sure if this has directly influenced my creative universe, but it has certainly changed my life, opened up my vision of things, and opened up fields of possibility.
MP: The IFM atmosphere got me more confidence in creating my bubble universe and exploring freely inside it. I think it also gave me a perspective of something more fashion, before IFM I was really thinking in terms of art, I still do but with a more open vision of fashion and business aspect.
SS: Going to IFM really opened new fields to me, artistic-wise and human-wise. It is a really freeing school creatively, as you can feel everyone around is pushing for the students to find their own voices and affirm the specificity of their background. Having international students pushes everyone to open up to others as well as define themselves. But to be honest, IFM is still a private fashion school, attracting only a small percentage of the global population. I feel like (at least in the masters) the student crowd remained quite homogenous in terms of origins or social background.
h: Could you discuss the significance of storytelling in your designs? How do you weave narratives or evoke emotions through your fashion creations, and what impact do you hope these stories have on the wearer and the audience?
MP: My work focuses on our relation to the norms in our society and the alienation of people considered as different. For my graduation collection, I wanted to put in perspective orthoses, especially the orthopaedic corset. It’s a subject that matters to me, as I wore one as a teenager and always felt like a freak because of it. There isn’t a lot of representation for the young people going through that today, and with my work, I hope I can help some of them to feel less lonely and to help them to accept themselves more and find some beauty in their experience.
h: Your work is often designed with many delicate ‘soft’ holes. What do they represent and would you say they can become a distinctive feature of your designs in the future?
SS: To be honest, I didn’t even notice that! I think it relates to my affinity with touch, sensuality, and the relationship between the garment and the body underneath it. Maybe unconsciously, I want the person to be seen more than my garment, who knows! It’s definitely a way of highlighting vulnerability. I like the idea of the clothes not covering a body but letting it take its space. I really want to design non-constraining, comfortable clothes that make someone feel good and seen. Maybe the holes are related to that? This question will definitely stay in my mind for a bit, so yes, I guess soft perforations are still to be explored in my future designs.
h: What has been the most challenging thing about learning how to work with knitwear so far? How have your designs evolved throughout your time at IFM?
EV: Delving into the realm of knitwear presented its own set of challenges, from deciphering the inner workings of knitting machinery to grasping the intricacies of stitch patterns. However, my journey at IFM has been transformative for my design aesthetic. Starting with the basics, I gradually ventured into more complex techniques and innovative approaches, pushing the boundaries of traditional knitwear design.
As my understanding of knitwear construction deepened, I began to experiment with various yarn weights, textures, and shaping methods. This exploration led to the incorporation of mixed media elements and the adoption of sustainable practices in my design process. Each step forward has been marked by a sense of discovery and growth, as I honed my skills and refined my artistic vision.
Today, my designs reflect a fusion of technical proficiency, creative flair, and a commitment to sustainability. From simple swatches to intricately crafted garments, my journey in knitwear design has been a testament to perseverance, passion, and the endless possibilities of the medium.
h: Could you tell us about what inspires your designs? Are there any designers and artists who inspire you and who you look up to in your creative journey?
LA: Of course, there are many fashion designers whose work I love and from whom I draw inspiration. Ever since I was very young, I’ve been fascinated by the work of Vivienne Westwood: her punk influences, her transgressive creations, her historical references, her eclectic associations, and her portrayal of sexuality. She influenced my style and my way of being when I was a teenager; she helped me build my creative identity, and in this sense, she will forever mark my creative journey.
But I don’t like to base my creations solely on clothing references; that’s too restrictive. I prefer to draw inspiration from other creative fields. I am deeply involved in the feminist struggle, which is why, as part of my creative process, I often find inspiration from books, films, or artworks that challenge femininity.
One of the people who has most inspired my work in recent years is Chloé Delaume, a female author whose literary style oscillates between fiction and reality, poetry and novel. In one of my collections, “The Beauty without the Beast,” I was inspired by the characters in one of her books—their descriptions, their stories, their personalities—to create my silhouettes and bring them to life. Her work is a real source of inspiration for me as a designer because it addresses notions that I myself explore in my collections, such as gender stereotypes, sexuality, and female constraints.
More recently, in my latest collection, I was inspired by the work of Skuja Braden, a couple of ceramic artists whose work, which is both highly plastic and graphic, tackles many contemporary political themes. There’s something unusual and quite transgressive about the way they represent the female body, and that really resonated with me. Perhaps it’s because of the perspective they bring and their experience as women.
These are women who represent themselves without complexes, which is quite rare when you think about it. They don’t portray a stereotyped, standardised sexuality. On the contrary, there is a great deal of freedom in the scenes they depict, despite the taboos and stigma surrounding lesbian sexuality.
Photographer: HÉLÈNE TCHEN
Stylist: KIM MUNRAYOS
Makeup: RIKA BITTON
Hair: KATRIN SACHENKO
Casting: CAROLINE ALM
Talent: ADHIEU @ SUPREME MANAGEMENT
MARALMAA @ NEW MADISON MODELS
Stylist Assistant: VIKTORIA CUELLO
Production Assistant: DYLAN PRIESTLY
