Designer and musician Rhiannon Davies is an extension of her equestrian guardian angel, the Celtic diety ‘Rhiannon’. Her latest handcrafted capsule collection follows the toxic romance of the Goddess Rhiannon and her encounter with Pwyll, the prince of Dyfed in the forest by night, and explores ‘perfectionism’ in the Western World. This is released alongside a contemporary Celtic fusion single made in collaboration with Redz Lashley.

How would you describe the evolution of your brand?

As a teenager and deep thinker, I felt like I didn’t fit in - never content and continually restless. I was brought up in a Christian family, naturally shy and reserved, but I felt I could be loud and unstoppable through artistic expression - a safer more abstract space to explore ideas and feelings. I also grew up in a small rural town with no fabric shops and my family didn’t have a lot of money, so I always had to rummage around and work with what I had. It was always quite experiential. From up-cycling old shower curtains to hunting for tartan kilts in the local charity shops, raiding my grandma’s vintage button or taking apart my old cross country running sportswear to fashion into skirts became an impulsive act, and one better for the planet two - which I realise now I’m older. The personal, sustainable edge I always had is at the core of my brand today.

What attracted you to themes of semiotics and equestrian?

The origins of my name ‘Rhiannon’ have also been a frequent inspiration point for my art. ‘Rhiannon’ is known to be a Celtic deity recorded in the ancient Welsh Mabinogion, the Goddess of horses, often depicted astride a white mare. She is linked with fertility and the moon, and possesses three birds who could wake the dead and lull the living to sleep with their song. She acts as a muse who I seek to transport into the 21st century and represent in fashion and music form. I use the goddess as a way of empowering my artistry and reclaiming my identity through her character. After being conflicted for so many years about what I believe or what I should believe, I was able to escape into the fantasy of Rhiannon, which helped me write my own story. Using semiotics and signs to propel my decisions in life is just how I’ve been programmed to think, being raised by my parents in the church. Finishing my degree and my final collection during the lockdown was a spiritual experience. I had no uni machines anymore so had to do a lot of handcraft, almost taking me back to the medieval time that the goddess Rhiannon existed in.

Do you have any significant inspirations, whether this is a moment an individual or something else?

I love Kate Bush. So strong and peculiar. Her witchy tendencies with fashion fascinate me, and I love how she draws upon old folklore and storytelling in her artistry. The same with Stevie Nicks (Fleetwood Mac) who actually wrote a song called Rhiannon. There’s also Alexander McQueen and how his clothes are tragic personal tributes to politics and heritage. I see my creations as odes to tragedy too. Following on from the concept of the ‘goddess’ I explored the the idea of perfectionism in the western world. I created bustiers from up- cycled saddles as feminist pieces which raise issues on societies unrealistic idea of physical beauty, and love based on the shape as opposed to the soul. The bustiers exaggerate the hourglass figure as a sardonic take on how society worships this certain image of the body. I found it interesting that the humans need to perfect extends onto other wild forms of nature such as horses, with the saddle used in equestrianism as a form of control. I wanted to put this back on the human by deconstructing a pre-owned saddle and using it’s natural curved forms and turning it into the bustier, also acting as an abstract posture corrector. Like females, we style horses hair, we train them, we give them human names - the horse saddle was up cycled and chosen as a believable textile to fit this stream of consciousness. The saddles corset’s are completely zero waist, sustainable and biodegradable, and amazing pieces of existing craftsmanship to be utilised.

Can you tell us a bit about your journey with this capsule collection?

The capsule collection started when I discovered an unreleased demo by Fleetwood Mac called the ‘Maker of Birds’. It actually follows the story of the Goddess Rhiannon and her encounter with Pwyll, the prince of Dyfed in the forest by night. Pwyll is entranced by the mysterious woman and orders his horsemen to capture Rhiannon. For two days and two nights they chase her, but the goddess simply evaded their pursuits each time they neared. Pwyll finally attempts to reach her by calling her name, she complies and they agree to marry. Even though the story is presented in the rose-tinted guise of a fairy tale, and similarly with the Fleetwood Mac song, the toxicity of the encounter is visible. I looked to this example as a representation of romantic encounters in the contemporary age, with image and status being the main attracting factor between beings. A tragic ode to the cycles of finding stability in people who are not right for us. I decided to create a ‘His and Her’s’ look to illustrate what they would be wearing on horseback during the romantic chase but in a contemporary format.

This work is also linked to your work in the music industry. Do your personas a musician and a designer as independent or intertwined?

I see them as both. I draw upon the same themes of Welsh mythology and the concept of the goddess and female empowerment in both fashion and music. It all draws from the same world and ultimately my personal experience. They are intrinsic. Maybe they will become separated thematically in the future, I’m open to the evolution.

““I see my creations as odes to tragedy.””

Can you tell us about the development of your new single and the formation of your creative relationship with Redz Lashley?

We met on hinge lol. It started off with a couple phone conversations, we hit it off musically so decided to start working together. For this single we began by choosing sounds that I would associate with the forest chase, contrasting my spacey ethereal sound with the urban edge Redz is known for. I’ve been in London for 6 years now, and Redz hails from West, so we found it important to bring in the london culture by selecting elements of drill. The genre provided a dark, bleak and gritty vibe, using low frequency bass elude to the sound of thundering horse hooves. Essentially I play Rhiannon and Redz plays Pwyll. I am a Pisces and Redz a Taurus, in the song I reference the honesty of natural forms like water to portray emotions and the toxic fluid nature of how I often find earthly kinds of stability in romantic encounters instead of myself.

How would you summarise your sonic aesthetic?

It lies within the genre of contemporary Celtic fusion. A sensually charged dreamscape of sobriety and ecstasy in one. Something to cry to, something to fall asleep to, something to fuck to whatever you want.

Can you describe your utopia?

My idea of utopia.. I’m a perfectionist. Born reminded I’m a ‘sinner’. I don’t think I can ever describe what a utopia would look like, I always see something to fault. Maybe then, my utopia is actually being content with myself, or it will be a gold encrusted, heaven in the clouds if I decide to believe it exists one day. I’m not sure and I’m cool with that.

Can you describe your dystopia?

Now, and not being self content.

COVID and lockdown has brought many struggles. Do you have any advice to others, particularly those in the arts, to cope during these diﬃcult times?

I think the best bet is to stick together. It’s a really isolating time and lonely time, within the means of safety I would encourage creative collaboration and kindness. Be kind to yourself and strive for balance, we are not machines. Discover new music, art, outdoor sites of interest in your area, a new hobby or a skill that can interlink with your work. Find a way to find therapy in creativity, and try new things. Emerge yourself in experiential research, get out of the house and try freshen yourself up in nature. Money can be an issue, but be resourceful and recycle.