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15 May 2015 by Cezary Koralewski
Texprint 1997 alumna Laura Miles founded WOVEN Studio at a time when the modern weaving industry appeared to offer few opportunities and few places to intern. After more than 15 years developing her own business, she’s built a formidable reputation.
Christopher Kane, Roksanda, Erdem and Michael van der Ham all have something in something – they have worked with a textile designer based in a small studio in Bethnal Green, east London.
It’s surprising how down-to-earth it is, despite tens of thousands of pounds worth of couture fabric swatches everywhere. “We work really hard,” says WOVEN Studio’s founder Laura Miles. “We can’t swan around in designer dresses. Actually, we just sold a fabric to Topshop – and we’re excited we can now buy something to simply wear.”
Shortly after Laura Miles graduated from Brighton University, she sold her final collection to Donna Karan and was selected by Texprint, showing at Première Vision in Paris. “Texprint puts you where people can see you, and that gives you a head start. It continues the momentum,” recalls Miles. She went on to sell designs to Italian mills, buy her own loom and open a studio.
Photos: WOVEN Studio
Miles found it tough at the beginning. “Big fashion companies were not really hiring many weavers. It was very easy for a printer or a knitter to find a job. Weavers were kind of forgotten about.”
She produced swatches of her designs and made contact with whoever had shown interest in her early work. “It’s a bit weird because in the beginning you’re weaving on your own,” recalls Laura. She now employs and mentors a team of young textile designers working at her studio (including an intern from Texprint 2014). “Now I’m never on my own.”
Her work has chimed with the mood of the times in the high-end fashion market. “Developing the fabrics is such a big part of fashion now. Every big brand has their fabric development team. They don’t want the same materials as someone else,” says Miles, whose thorough technical grounding has given her confidence to make the most of the evolution of the market.
Important to her work has been a long-term collaboration with Vanners, a silk mill in Sudbury, Suffolk, with a 275-year-old tradition. Spending one day a week in Suffolk, Laura oversees production of her own designs – and thus Vanners, at core a heritage brand best known for traditional neckwear silk, now finds itself manufacturing textiles for fashion houses such as Alexander McQueen and Balenciaga.
Her ability to handle both design and sales is a great strength, Miles acknowledges. “Designers appreciate working with a salesperson who is technical as well.” The difficulties of her job are part of the appeal. “Designers always try something different. That’s the challenge of it. And that’s why people work in fashion.”
The development of Laura’s designs never really stops, undergoing many turning points. “The thing in designing a fabric is that you never know what it’s going to become,” says Miles, whose textiles have been used for dresses worn by the likes of Michelle Obama and actress Helena Bonham Carter.
She tells good stories, including how Michelle Obama’s Thakoon dress used the reverse of her fabric. “It’s often not what you think they’re going to do with it,” she notes, laughing.
Laura and her team have become used to dressing the stars. “It’s nice when you can show it to your mum – and your granddad actually knows who the person is.” Although her name is rarely mentioned the press, Laura knows that is part of the deal: “If you want to be famous, you don’t get into textile design.”
Constant development keeps her enthusiastic. “I like finding new techniques and yarns and making something that didn’t exist before. I think that if I retired, I’d like to be a textile artist.”
She is rightly proud to be producing high quality fabrics in England. “When we recently went to PV and showed our fabric collection to Chanel and Lanvin, they said we look like an Italian mill now. That was the biggest compliment. You wouldn’t have come to England before for [these kind of] fashion fabrics – it’s always been about Italy.”
She loves starting from basics. “The thing I like about weaving is making something from nothing. You design a fabric from scratch, then put every single thread in it,” she says. A true pioneer of modern British textiles.
Laura talking to students studying fashion journalism at London's Central Saint Martins
15 April 2015 by Roger Tredre
Texprint 2014 designer Monika Haeussler-Goeschl enjoyed a 10-week internship in New Delhi, India, with Cosmique Global. Here are the edited highlights from her diary:
Expect the unexpected! This thought sums up my experiences during a 10-week internship at Cosmique Global, New Delhi – an opportunity for which I am immensely grateful to the company.
Take the traffic in Delhi: expect cows or oxcarts in the streets; cars or trucks hurtling along the wrong lanes in the wrong direction; an elephant on the street in the dark – anything is possible. All new for a Western European on my first visit to India.
Hectic Delhi street scene
Cosmique Global was a great opportunity for an intern, not least because the company has so many craft techniques available under one roof: handknit and crochet, machine and hand embroidery, screen printing and hand printing, hand weaving, stitching. Even a small production area is in-house.
I shared an office with Saundarya and Kanika, two interns from Delhi who are just about to finish their last year at college (a year of interning). They welcomed me with open arms and minds and I gained two good friends. And the contact with Sandeep Manaktala, the boss, was excellent throughout the internship.
Monika with her boss Sandeep Manaktala
Week 1: Arrival at New Delhi. Warm welcome from my hosts, a couple in their sixties, who are very caring. I have a room with bathroom in their flat. First impression: it’s very cold in Delhi in January!
Everyday I am picked up by driver for the office and he also takes me back in the evening. A warm welcome at the office. I need a couple of tours around the building to remember where all the different workshops are.
My hosts show me around the area and help me with buying a phone card, showing me the way to the metro station, and so on. The area is very local, no tourists or supermarkets, just small local shops and markets. Only Indians apart from me. I also have a lesson in Hindi every evening – two new words a day. A fantastic chance to get to know a foreign culture.
Week 2: Things speed up in the office. New ideas are needed and there is time pressure to make them within two weeks.
I am asked to translate my designs into a bigger scale. I develop some pieces by stitching or weaving into existing surfaces, while my colleagues work on macramé and weaving projects.
A project idea has been put forward for me, developing knitted wall art pieces with abstract patterns. Sonali, the head of the design department, is very good at recognising what each designer is good at and dividing up projects according to individual talents.
Think Out of the Box - a good mantra for my busy internship!
Week 3: A week busy with work. The deadline for the Ambiente fair in Germany is next Monday. Everything needs to be finished, mounted, labelled, packed.
I develop seven knitted wall art pictures with abstract motifs. Plus several other pieces in different techniques like macramé and netting. I have absolute freedom to develop my ideas, but they need to fit into the concept and the style, the abilities of the workers, and the pricing model.
I am absolutely amazed by the skills of many of the workers, especially the embroiderers. They can do anything on their machines. A lot is done just by eye, no embroidery computer programmes, everything manual. They are all hard-working people, but always friendly and helpful.
On Saturday it is election day and everything is closed. I decide to visit Lodhi Gardens with its beautiful monuments. Moving around the city by metro is easy but sometimes very crowded.
Working with the knitting ladies
Week 4: A stressful start to the week. Finishing touches, labelling, photography and packing of the collection for Ambiente.
Shortly after the Frankfurt fair there is an important fair in Noida, close to Delhi. More work is needed for this fair, at which Cosmique Global will have one showrooms and one temporary stand.
On Friday and Saturday me and another intern have to set up the showroom for the fair. It requires a lot of work, extending into Sunday, but we get the job done!
Week 5: The weather has changed, suddenly it’s hot.The pace of work is frentic, and we work late into the evening to ensure everything is completed.
On Saturday I visit the Noida fair – IHGF, the Indian Handicrafts & Gifts Fair. As a foreigner with a business card, I have free entry and a buyer’s pass, so I can visit all the stalls and showrooms. The fair is very big, impossible to see it in one day. I spend some hours strolling along and then help in the showroom. Several big buyers are there and it takes a long time to finalise their choice.
I also visit the stall of the second part of the CG family business, making handbags. It is run by one of Sandeep’s younger brothers.
Week 6: A calmer week, things settle to normal. Some buyers are interested in a few of my wall art pieces, so I continue with it. I love to use unusual materials and use everything that I can find in the countless sacks full of material.Some buyers are expected to come for a visit this week, so it’s not great when I develop a cold. I spend three days (including the weekend) at home and in bed: a low point of the trip.
Women in their colourful saris at The Red Fort, Delhi
Week 7: The cold is still there when I start to work again on Monday. But after a weekend in bed I just need to get up and do something else. Everybody in design is working for an important buyer who is expected. So I start some cushions with tape ideas.
This week includes Holi, the festival of colours, a public holiday. On Thursday afternoon CG has a small Holi party with some colour spread on each other’s faces, food and sweets. On the day itself I am advised to stay at home because the colour often comes in water balls – and it hurts and you get coloured all over!
Week 8: I work on some new surface ideas that could be used for lamps, place mats or fabric wall covering. CG needs new products apart from cushions and throws. I am planning what can be done in the remaining time. I try to use the resources and skills they have and explore different ways of using them. For example, a different use of embroidery, chunky knitting, new crochet patterns.
Busy working on new ideas
Week 9: I start the week with ideas for lampshades in different materials. I also try working with the embroidery machines and stitching machine. Everybody is astonished because here a designer does not do this.
Dyeing is done on many streets. You just prepare the fabric with instructions and a colour swatch and then a worker goes there and orders it. A couple of hours later you have it back.
Working with the stitching tailors
Week 10: I spend my last week developing some new knitting and crochet ideas for cushions and throws. I teach the hand knitting women new patterns and techniques and they enjoy learning something new.
On one of the last evenings Sonali goes shopping with me and I receive two Indian outfits and a kurta as a present. It is a generous gift which I appreciate very much. I wear one of the outfits on my last day in the office.
In the end I find it hard to say good-bye to the people. I will miss them: my fantastic intern colleagues, my hosts, Sandeep, and all the friendly colleagues at the office .
You need to be able to work very independently to make the most of an experience here. It’s a great opportunity that everything is under one roof. It’s also great to try everything and experiment freely.
Altogether, it has been a very special experience. I have loved the insights into another culture and I am grateful for the opportunity I have had and the people I have met. Thank you Cosmique Global and Texprint.
31 March 2015 by Roger Tredre
Egle Vaituleviciute, from Lithuania, was a Texprint knit designer in 2011. Here, she tells us what happened next and how she loves developing her own kind of knitted-weave products.
Tell us about your new project.
I am in the process of launching my label WLE London (which stands for, With Love Egle). I find myself working as a designer/ artist, product developer, maker, pattern cutter, marketing person, sales person, and all that there is to be in business.
I’m based at Cockpit Art Studios in London, working mostly with wool yarns. The aim is to create a new kind of luxury lifestyle knitwear – and pieces for the home too. We’re going to be stocked by Wolf & Badger in London, so that should provide a good foundation.
I do feel like an innovator, creating something that hasn't been done in such a way: knitted-weave. I am mixing disciplines and creating new looks to the highest standards of craftsmanship with sustainable elements to it. Made to size, using natural wool only sponsored by LineaPiu yarns, a company I met at Shanghai Spinexpo back in 2011.
I absolutely love what I do: it doesn't feel like a job. It flows naturally. I sometimes catch myself on the bus to the factory wondering how I am not scared. Most of what I do has never been thought about, but I suppose it has to be an inner energy more then anything. Texprint was my starting point – an eye-opener as to how many people are interested in what we do, in textiles.
How did Texprint help your career? And tell us about what you’re up to now.
Texprint was a great chance to meet lots of people from the industry. It was a big opportunity to show my work and be remembered. Texprint is so recognised for its great design and quality supporters and promoters. And having their logo on my website really adds a big weight to my work.
I’m also aware of doing the best to represent Texprint. It gives recognition and reassurance. It’s very important as a start-up business to have a track of history in industry.
Explain how things progressed for you after the Texprint experience.
After Texprint, I still maintained a lot of my contacts. And I was offered an Erasmus exchange straight after Texprint, which took me to India.
Two months in I received an email from one of the contacts I had made through Texprint at Shanghai Spinexpo, offering me an opportunity to work for a design house as a knitwear designer in Hong Kong.
It was a great experience again, but I didn't felt that was my thing. Maybe because it wasn't my country, but I certainly knew that I needed to do something more then that, so after some time I moved back home.
How did you become interested in knit and design?
I grew up in Lithuania, with textiles in the house, with my mom, my mom’s sisters and my grandmothers working as tailors. Now I feel I am following in my grandmother’s footsteps. She was a menswear outerwear tailor and I love outerwear and heavy textiles.
Knit interested me only after I came to the UK and started studying at Chelsea College of Art & Design [since renamed Chelsea College of Arts]. It only happened because I borrowed a knitting machine from a friend and wanted to learn how to use it, ending up doing experience with designer Julia Pines. She said “You’re a natural”. Knit reminds me of painting at school. I paint a lot, so I can do that with knit at the same time. That’s fascinating.
Tell us about your time at Chelsea.
It was the Chelsea BA textile design course. It was very good, with great college facilities and amazing staff – such a great experience. I loved studying. I remember coming in at 8am and being kicked out at 8pm by Security locking up. Again, it was such a good introduction to the industry as well as a great location – Pimlico, with Christopher Bailey’s Burberry just down the road! I still keep in touch with Chelsea in updates, projects and collaborations. The Erasmus trip to India changed my life – so inspirational.
Has your style changed since your graduation collection?
No, it hasn’t changed but it has improved! I have had time to explore and experiment, to find my way and what works or does not work for particular products. But I am still going strong, developing what I have been doing.
Besides your design work, what else are you interested in?
I live and breathe textiles, the lifestyle, the daily, weekly routine all the time. But riding a bike clears my head. I like live music, exhibitions and art in general. I love architecture, cities and healthy food. I love sharing my knowledge with others, and want one day to have a teaching part-time job next to what I do best. Or share it in someway.
Photos by Romain Forquy http://romainforquy.com/
21 March 2015 by Roger Tredre
We talk to Jane Rapley OBE, Honorary Trustee of the Texprint Council, about her love of textiles and long-time association with Texprint.
Senior figures in the world of academia sometimes come across as self-important and lacking in a sense of humour. Not so Jane Rapley, who retired in 2012 as head of Central Saint Martins. In an hour of conversation over a coffee, she is a whirlwind of humour, gossip and general chit-chat.
Retired? Well, not exactly. She’s just returned from another trip to Asia, lending her wisdom and years of experience to Hong Kong-based educationalists. And now she’s delighted to cap a decades-long association with Texprint by becoming an Honorary Trustee.
Her memories stretch back to the early 1970s, when a friend exhibited at Texprint and she recalls one graduate – possibly John Miles (later head of fashion & textiles at the Royal College of Art) – showing a collection inspired by Mickey Mouse and Walt Disney. One suspects the legal team at Disney would not be amused if the collection was recreated today.
Her association with textiles dates back to the very beginning of her career as merchandising manager at menswear company Sabre International Textiles, managing the knitwear range. Her links with education were very early too, prompted by Sabre owner Louis Van Praagh, a fervent supporter of education, who encouraged her to teach on the side. “Through him, I got involved with the Council for National Academic Awards at the tender age of 26. And I was a governor of Plymouth College of Art at the age of 28 – mainly because we had a factory there.”
Although she’s best known for her career at Central Saint Martins, Jane has taught and lectured more widely, including Middlesex, Preston, Brighton, Kingston, Trent and Lancashire Polys in the 1970s, followed by the Royal College of Art and Central School of Art & Design in the 1980s, all this while running a business or two (including her own, Burrows & Hare).
Circa 1978, Jane teaching in the textile studio at the Central
By 1987, she was head of textiles at Central. Within six weeks, the department was restructured and the merger between Central and Saint Martins was announced. She taught textiles for only two years before becoming dean of CSM’s fashion & textiles school, but her affection for it has remained constant. “When I was a student I loved doing print and by chance I took to knit. I think I partly liked the fact that the people [in textiles] are so nice! They tended to have more diverse backgrounds than fashion.”
She enjoys the annual Texprint show in London. “It’s always a pleasure to look at young designers’ work. I have always loved colour. I used to love choosing the colour range when I worked in industry; it was great fun choosing all the names.”
Jane Shepherdson, Terence Conran, Barbara Kennington and Jane Rapley OBE at the Coutts Texprint dinner 2012
Choosing the colours for the fashion school of the new Central Saint Martins back in 1990 was a delicate business, she recalls. “Bobby Hillson [CSM head of MA fashion] was desperately looking for navy blue paint for the cupboards. We found something that was not quite navy blue but just about ok. So we went away for the summer holiday and while we were away the London Institute chose its corporate colour – grey. Of course when we came back the cupboards were all painted grey. I still remember the look of horror on Bobby’s face. ‘My dears!’ she said. ‘That grey is so last year!’ ”
The central role of textiles in design should be better acknowledged, she argues. “It’s such a pivotal area of education. When I was teaching textiles – a setup I inherited – it was very open, the students could try everything. They often went into printmaking but it could be ceramics or packaging. Their careers needed to be diverse, starting perhaps in fashion but moving into interiors for example. The deployment of technology was very exciting for designers – it’s fascinating how you can take traditional textiles into new worlds such as architecture or medicine.”
Sir John Tusa and Professor Jane Rapley OBE, when Head of College at CSM. (photo credit: Paul Cochrane)
Where does she stand on the digital-versus-handcrafted debate? “I don’t think it’s a versus. Really good interesting creative people will use them all as tools, whether they use handcrafted with technological materials or traditional materials in a different technology process.”
Textile designers need to be better appreciated, she says. “The problem with textiles is that textile designers largely do not hit the public consciousness. They are designers for other designers… The only time they surface is when they go into fashion, such as Alice Temperley or Zandra Rhodes.”
The result is that many young people don’t recognise that textiles offers a really interesting career. “So many teenagers say they want to be fashion designers. People ring me up saying, my daughter wants to be a fashion designer. They don’t realise the potential of a career in textiles.”
Jane with Texprint colleagues at a Texprint Council meeting 2014
15 March 2015 by Roger Tredre
Ffion Griffith was a Texprint designer in 2013 and went from us to a year-long internship at Liberty Art Fabrics that has worked out in the best possible way – with a full-time job as a print and innovative fabric designer.
Texprint has benefited from a long-term connection with sponsor Liberty Art Fabrics. Emma Mawston, Head of Design for Interiors, is a Texprint Council member. Ffion reports to Tessa Birch, formerly print director at Diane von Furstenberg, now Liberty Head of Design for Fabrics.
Tessa Birch says the benefits are two-way: “It’s an honour and privilege to work with Texprint. The calibre of the students is outstanding – Ffion is now an exceptional asset to our team. And Texprint is also a very important part of the design community at large.”
The work Ffion showed at Texprint back in 2013 was outstanding – aiming to revive traditional Welsh weave in an original way, fusing a contemporary colour palette with urban patterning and championing the rich and luxurious qualities of natural fibres. She won the Space Prize for the best fabric design for Interiors.
Two years on, she says Texprint played a pivotal role in her career. “It enabled me to make the crucial step into a highly competitive and relatively small industry,” she recalls. Time for a catchup!
Has your style changed since your graduation collection?
My graduate collection focused on woven interior products such as blankets, upholstery and carpets. These derived from my wish to preserve and promote a threatened Welsh weaving technique.
Heritage and tradition have always played an important part in my work. This passion is equally fulfilled working at Liberty Art Fabrics with its rich textile heritage and priceless archive of over 40,000 articles.
Despite now focusing on textile prints for the fashion market, in my work the same principles apply – thorough research of creative techniques from a variety of sources influencing and inspiring my design work.
Tell us about your job now and how it came about.
My job as a print and innovative fabric designer has evolved from the role I was awarded as a Texprint internship in January 2014. The ‘Fabric Innovation’ internship was an opportunity generously sponsored by the Drapers Company. Quite a few changes happened at Liberty Art Fabrics during the year, including a new Head of Design and I have gradually become more involved in different aspects of the design process.
Ffion with colleagues on the Liberty Art Fabrics stand at Premiere Vision, wearing prints from the range
Tell us about your Texprint memories.
Exhibiting in both London and Paris provided a priceless platform for my work to be seen by industry professionals. And opportunities such as working in a textile mill in Como, Italy allowed me to learn a great deal about the commercial aspects of the industry and to establish a network of professional contacts. As well as the numerous doors it opens, being one of the chosen 24 designers was paramount in giving me confidence, encouragement and belief that I could succeed as a designer within the industry.
Where did you grow up? How did you become interested in textiles and design?
I grew up in rural Wales where – although not as prevalent as they used to be – woven textile mills have an importance in national pride. As I child, I visited these woollen mills but soon realised that the industry was in decline. It was not until my second year of university reading French and Russian that I realised I could no longer turn my back on my textile heritage and made the decision to change courses.
Where did you study before Texprint?
Before Texprint, I studied Textile Design at Chelsea College of Art. The course was extremely open to one’s own direction and interpretation, which allowed for a journey of creative self discovery. I was drawn to specialise in woven textiles and thoroughly enjoyed myself spending hours weaving at the top of the college building, with Big Ben in sight and the clatter of the old manual looms on a repeating soundtrack.
Describe a typical working day at Liberty Art Fabrics.
Describing a typical day is impossible as no two are the same. From organising photoshoots to drawing at Kew, meeting new fabric suppliers, making garments and meeting with interesting customers such as Brora and Nike.
A particular highlight for me is the creatively nurturing and inspiring atmosphere in the studio. I am continuously learning new things and am challenged on a daily basis. I have also been fortuitous enough to have travelled with the Design Team on some inspirational trips to both Berlin and Istanbul.
Ffion (left) with colleagues and Tessa Birch (right) - a behind the scenes shot from the spring summer 2016 look book
Besides print, what else are you interested in?
I am fascinated by travel and am lucky enough to have not only seen many European countries but to have travelled to Russia, Japan, China and Hong Kong. As I am working fulltime, my travel ambitions are now limited. But as London is the most multicultural city in the world the opportunities to explore different cultures are endless.
26 February 2015 by Jainnie Cho
An optimistic energy is at the heart of Manri Kishimoto’s designs. The 32-year-old Japanese designer’s prints, bursting with colour and whimsical, nature-inspired themes, would put a smile on anyone’s face. “I’ve always wanted to work with colour rather than focus on shape and cutting skills. I wanted to make something fun but in simple silhouettes that are inspired by everyday things,” she says. Tellingly, her favourite designers and artists include Eley Kishimoto, Henri Matisse and David Hockney – all renowned for their use of colour.
This approach to textile design sings in her last two collections for her own label, Mannine (launched late 2013). Birds inspired the Spring/Summer collection for last year – “I like designing with nature and animals” – while the idea for her Autumn/Winter collection came from the music of French composer Pierre Henry. “He collects sounds from around the city – the streets, parks and so on – and uses these sounds for his music. Similarly, I put normal, everyday stuff onto my textiles,” she says.
While Kishimoto’s student days weren’t without their challenges, they seem to have paid off swimmingly for the designer. Upon graduating from Central Saint Martins in 2012, she was chosen to participate in Texprint and went on to win the Pantone Colour Prize and the Lululemon Athletica Prize that year. Texprint also took her to Premiere Vision, an experience Kishimoto recalls as being “invaluable.” “When I was a student, I went to Premiere Vision to do research so I couldn’t believe that I was actually at Premier Vision showcasing my stuff,” the designer recalls.
With this experience under her belt, she went on to showcase at various other fairs around the world. At one in particular, she met buyers from Japanese department store Isetan, which led to the now Yokohama-based designer launching two collections for the store – one last year and one this March.
Mannine look book autumn/winter 2014
Texprint caught up with Kishimoto and talked about her fashion designing family, her travels around Japanese textile mills and her vision for Mannine.
I read that Grayson Perry wore your clothes. How did that happen?
At Central Saint Martins, we did a project with Grayson once. He voted for my collection and even wore one of my designs for a BBC programme. Actually, when I did my Texprint interview, one of the panel said he knew my clothes because he saw it on the TV show.
You grew up in quite a fashion-centric household, right?
Yes. Both my parents are fashion designers and so is my sister. I started doing a lot of embroidery and hand stitching at a young age – at around six years old. My mom taught me. I remember when I was in school, I made a lot of small dolls for my friends on their birthdays. When I was starting out, my sister and my parents gave me a lot of advice and direction. My dad has a special technique for pattern-cutting so that was helpful to learn.
Why did you decide to go to London and study textiles?
I visited London when I was very young. I loved the atmosphere – how people loved art and that it was so international. I’m very much influenced by European and Japanese culture. For example, I like how Europeans love old things. In Japan, we like new houses but we also love our shrines and old architecture as well. I like the idea of new and old living together. My job is creating new design but at the same time, I get my inspiration from stories, history and old stuff.
So I wanted to study in London and applied for a foundation course at Central Saint Martins and got in.
You toured around Japanese textile mills at one point. Why?
After seven or so years in London, I wanted to know more about Japan and its great traditional textile culture. I visited many mills and printers, like a printing mill in Niigata; some in Kyoto, traditionally popular for textile design; Shizuoka for its famous cotton mills; and Fukui, famous for silk and synthetic fabric. When I was at school, I didn’t know where the fabric came from. I learned a lot about material from these trips.
Does your label name, Mannine, mean anything?
I took the first three letters from my name, Manri, and added the number nine. I like the number nine because it’s the biggest single digit number. I didn’t like the idea of using my full name and wanted to create something with no meaning.
What is the concept or philosophy behind Mannine?
I want to dedicate my clothes to people who like print, who enjoy print and colour and have fun with it. They are comfortable clothes. I don’t want to make tight dresses. People can take my clothes to travel around in and just have fun.
Exhibition booth at Machi exhibition Meguro Tokyo
After launching your label in 2013, you soon partnered with Isetan. How did this come about?
My first collection with Isetan was last September. I met some Isetan buyers at an exhibition and they picked up my AW collection and asked me to create something more from my graduate collection. I think they also liked that my clothes are accessible to everyone, regardless of age and size. I don’t have a particular target for age or size. My designs are quite flexible.
Fukumori store at Mansebashi Tokyo
And you have a second Isetan collection coming up this March?
Yes. My next collection for Isetan is launched on March 4 2015. It’s sizes 13 to 19 – so plus size. I like the idea of my clothes being open to all sizes. Along with this plus size collection, Isetan will also feature my fabric on a separate floor. Also, my own collection, the AW one, will be coming up at the end of March.
We say: well done Isetan for their creative vision – we just wish Mannine was available here in the UK!
Mannine at Isetan Japan, autumn winter 2014