All the way from the San Fernando Valley in Los Angeles, fashion designer Erika Maish creates clothes using textiles in alternative ways in terms of construction. Probably best known for her beading technique, Erika will make entire pieces only using beads which creates beautiful structures and interesting designs. Coming from Kardashian-ville herself, Erika has in the past struggled with her identity in such a stereotypically model driven environment. For her most recent collection 'Tales of a Valley Girl’, Erika directed a video to accompany it where she has used her close female friends to wear the clothes in order to go against this stereotype.

What initially influenced you to get into designing fashion?

I'd been taking weekend sewing class since I was 10 years old. My teacher is British and moving to London was definitely something that got stuck in my head from an early age. She’s supported me the whole way from teaching me how to make a pillow to helping me set up my showroom space with the BFC. I went to theatre camp as well and would work on costumes, later on I would make clothes for myself and my friends. It all developed naturally but by the time I got to CSM I became more interested in materials than silhouettes and decided to focus on textiles.

You are a Central Saint Martins graduate, how did your degree help shape your career as a designer?

I did my Foundation, BA in Textiles and my MA in Fashion (Textiles Pathway) all at CSM. It’s crazy to think now but I moved to London at 17 never having been to the UK.

My BA in Textiles was really helpful technically to build up knowledge in all sorts of processes and materials. I took a break in between the BA and MA, interning at Marc Jacobs (knitwear) which definitely had an influence on my aesthetic and approach. His collections have always bridged the gap for me between wearability and fantasy. While I was there I realised I wanted to go back to school to really develop my work to the furthest extent I could. As hard as the MA was I’m so grateful for everything I learned on it. They’re constantly pushing you to be your best and to establish your viewpoint as a designer.

What inspires your work?

A good story. Right now I’m inspired by a note in a bottle my grandpa threw overboard a ship in Buenos Aires in the 1930s. It ended up with a fisherman in Beesands, Devon.

Why have you chosen to use beading as your main medium?

I barely use any sewing in my work now because I want to find new methods of construction with non traditional materials. Beading is normally used for decoration and I like with these pieces the beads completely inform the structure of the clothing. I spent a long time developing the technique to make them really body con. I didn’t really choose beading to be my focus but those pieces just ended up being popular both commercially and editorially. I enjoy making them too. I think they’re experimental enough that people are excited by them but at the same time not too crazy in a way that would scare someone off.

Tell us about one of your favourite designs?

My favourite piece right now is this really long gown made from all my rejected can tabs. I started making can tab chain mail during my MA pre collection back in the spring of 2018. I had tested many colours and finishes for them that so many had accumulated. It’s a really emotional piece because it gives me memories of this entire journey I’ve been on over the past few years.

You have created pieces for the likes of Lil Miquela and Kylie Jenner - how did these opportunities arise for you?

I think most of the opportunities I’ve had sort of snowballed out of graduating from the MA at CSM. The first time I worked with Lil Miquela was right after the MA show so I think they saw images from the show and have just kept in touch. She’s my favourite influencer because she always credits the designers she works with. With Kylie I had met a new friend, Albert Ayal, through Instagram who is friends with her styling team. He sent them photos of my work and got my number. They texted out of the blue one day asking if they could borrow something. It was surreal to see her wearing my work.

I think as long as you don’t pin your self worth and the worth of your work on Instagram then it’s the most amazing tool for sharing work and meeting people.

Currently you are based in Los Angeles - how does the city influence you as a designer?

I'm born and raised in Los Angeles in the San Fernando Valley. It's the home of the 'valley girl' stereotype and all things Kardashian. With my new collection 'Tales of a Valley Girl' I wanted to examine this part of my identity that I always felt discomfort with. I am pale with red hair so never really felt like I fit. Moving away I was able to find my creative community and now that I'm back I can feel secure in the environment I'm from. I chose women in my life to feature in the video rather than traditional models. I wanted them to have fun and share their personalities rather than act as a blank slate. The video touches on stereotypes of the valley but also offers my own take.

It is about the monotony of this moment but also a celebration of it. The models are performing domestic tasks associated with women's labor and the craft techniques used in the clothes also express this. My work is something that is very craft oriented and handmade. Just like unpaid domestic tasks normally deemed as 'women's work', craft techniques like crochet aren't given enough value in society.

I was also inspired by the Los Angeles legend Angelyne who was the first person to be famous for no reason. She was just a person who put herself on billboards, changed her appearance and identity and became a big personality in the city. Not much is known about her origins but apparently she's from the Valley. I decided to put myself in a pink dress and on a (photoshop) billboard to acknowledge her and to play with my own identity.

What are you currently working on that we can expect to see from you in the near future?

I’m releasing one of my crochet patterns as a digital download which is very exciting and scary. I had made a few crochet sweater vests for the choreographer Matilda Sakamoto back in March. They were intended as a quick costume but ended up being a best selling item. In my latest collection I developed these into crochet dresses which many people love but can’t afford at the moment. I have gravitated towards crochet so much right now because I find it incredibly comforting. For many people trapped at home right now I hope I can provide a fun activity with the benefit of making yourself a cool new dress. I also really love making one of a kind pieces and work that is custom fitted, not a generic size. Everyone can interpret my pattern how they want to and make it to fit them.

Copying and ownership are much discussed topics nowadays and everyone is very protective over their work. In the craft community it’s really normal to share patterns and I want to embrace that spirit in my own company. I’m inspired by other designers and have looked at how their work is made to learn from it. I’m continually fascinated by the concept of the original and the replica , the counterfeit market etc. I’m looking forward to seeing what happens once I let this dress go.