Violette Villeneuve
The tension towards the expression and plastic rendering of fabrics seems to be one of the leading creative triggers for designer Violette Villeneuve. Using sculptural, deconstructed, and dynamic shapes, she gives life to clothes that are the result of an emotional urge. Fascinated and attracted by the visual arts universes, Violette draws inspiration from a multitude of sources to conceptualise her apparels by experimenting and following an impulsive stream. The common thread that binds her creations appears to be an intimate interest in the exposure and revelation of one's inner self. Her pieces are scented with an eclectic spirit and intended not only to grace the body but also to enhance the thoughts of the wearer. Garments as gateways for self-assertion, living elements that with quirky but at the same time gentle beauty can foster the stirrings of the psyche and soul.
Would you like to tell us something about your background and where your orientation towards the fashion universe stems from?
This is quite a classic answer but I have been passionate about art and creation since I was a kid. I just wanted to express myself so much and just make things.
I have always been interested in the dynamic of dressing up and the history of clothing. As a teenager, I was obsessed with the British and Japanese fashion scenes and I always knew that I needed to get out of Paris for a bit.
Before coming to CSM, I was studying Architecture and Interior Design. I then decided to take a Fine Art Foundation course in Paris for a year, applied to CSM, and here I am. I gravitated towards fashion especially because I just think clothes are one of the most primary forms of expression: you wear what you think, in a way. It is a way to bless your everyday life with more beauty and meaning. Obviously, clothes are functional before all, but what I find fascinating is the sociological impact they have on us.
What inspires you most when creating your patterns and shapes?
Honestly, I am just obsessed with Eduardo Chilida's work and Antoni Tapies's minds. Intricate and mysterious shapes and thoughts full of spiritualism, almost esoteric. I am obsessed with painters and sculptors. How to translate the beauty of a still object on a moving body. Trying to explore the movement of the mind and translate it with lines, seams, growths around the body. It is a very conceptual way of seeing fashion and sometimes hard to understand from only a visual point of view but that is what interests me.
The need to have a conversation about what people wear, how they enhance their body, how they empower themselves and how they feel comfortable. It is so important.
Would you please share a little about your design and research process? How do you choose your textiles and materials?
I love to start the research by creating my own visual, it helps me get into the groove and dive into my own world. It is kind of a little experience I run on myself: what is going to come out of me naturally? Knowing I have been influenced consciously and unconsciously by the things I see every day and the things I have learned. It helps me understand in which state of mind I am in. I mostly start by altering and manipulating pictures I take by drawing on them on my iPad. It is my most essential tool, to be honest. I try to draw as much as possible, starting with rough shapes and focusing first on color combinations and textures. That is what is going to help me create new textile experiments and choose materials. I let the materials lead the process and adapt the shapes to them.
You seem to have an affinity for deconstructed or fragmented garments. Where did the idea for your striped pieces come from?
I wanted to dive into zero-waste patterns and found that I could do it by creating a new textile. It was a way to not waste any materials and still have aesthetic freedom. I just started slicing denim in long stripes and stitched it on tights. The action of piecing back together things and observing the contrast it creates is very interesting to me. Every inch of the fabric is used and I can just use any leftovers for new pieces. It is very instinctive because I can just mould it in the shape I want and then fix it with a coat of bio-resin. It is so satisfying.
“‘’I let the materials lead the process and adapt the shapes to them.’’”
Would you say that your Instagram account is a crucial platform for generating visibility for your works? Do you receive through it substantial feedback or collaboration proposals?
Of course! You guys found me via Instagram so I would definitely say yes.
I am always amazed at the feedback and proposals I received there.
What about your forthcoming projects? Is there a specific collection you are currently focusing on?
I took a year out from Central Saint Martins's MA last March, to have a little more perspective on my work. But obviously, I haven't stopped working and I am coming with a few surprises very soon!!!
interview GIULIA OTTAVIA FRATTINI
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