LOUIS-CHRISTIAN PENDEGRASS INTERVIEW
WITH A CURIOSITY FOR FENCING AND THE FEMININE FORM, LOUIS- CHRISTIAN PENDEGRASS HAS NOT EVEN BEEN OUT OF UNIVERSITY FOR A YEAR AND HE IS ALREADY MAKING WAVES IN THE FASHION WORLD. AGENT2 MAGAZINE’S JENNIFER BUTLER FINDS OUT HOW MENSWEAR HAS INSPIRED HIS SILHOUETTES AND HOW HIS JOURNALIST MOTHER CARVED HIS LOVE OF FASHION.
How did it feel to work at Mulberry and what did you learn from the experience?
I worked at Mulberry for a school internship program. It was such an eye opener as it was my first step into a professional working environment. I worked alongside the ready-to-wear technicians and the head designer for men’s and womenswear. I was taken out for research trips across London to markets and vintage stores; I also got the chance to sit in on the private view of the new collection, liaising with the buyers and press. It was terribly exciting for a 14 year old. The experience taught me how a large international company operates, how the team correspond and what each of the steps was to putting together a collection, not only of garments but accessories.
Your collection could almost be described as menswear for women. What inspired you to create the streamline shapes we see in your collection?
I am very inspired in my work by menswear silhouettes. I’m tired of the typical 80’s ideal of womenswear, the idea that women had to look stuffy and boxy to gain respect; this is why I wanted to create a collection which used both strong lines while always accentuating the female form. I paid close attention to the streaming continuity of line which moves through a women’s body, from the circular balls of a shoulder to the square lines of the pelvis. The collection was initially inspired by fencing. Sport is such an elegant form of expression, which represented chivalry and honour, so I wanted to incorporate different aspects of this into my garments. I went to a few lessons and was inspired by the blade clashes and scores. This led me to research into artists who use cutting as a painting method. I came across Lucio Fontana who used a sword to slice open raw canvases at different angles, thus creating a piece of art which is completely organic in its creation. The slashes on the shoulder and down the centre back of my pieces represent deep blade scores; I decided to encrust them with crystals to give the impression of bleeding jewels from a wound. The 3D aspects to my work were inspired by an artist called Giacomo Balla. Balla made steel formations in the 1900’s. The shapes he used were very precise and clean, but I wanted to keep the shapes in my pieces organic, so I developed my own from origami patterns, which evolved into what you see in my collection.
What inspired you to become a designer?
I don’t think there was any one thing which inspired me to become a designer; it’s just a natural interest, just like any other hobby. I was drawn to womenswear through film and theatre, it was far more interesting to me than any other normal little boy hobbies like sports, therefore my mother encouraged my interest with fashion books and trips to exhibitions, this developed into a strong passion as my knowledge and awareness grew and once I knew I could make a career out of it, I ran with it.
You are quite fresh out of university, how did the experience of going to university influence your clothing line?
University was a life changing experience. It’s not only a place to grow as a person and develop technical skills, it’s also an environment where one gets the opportunity to experiment with so many different methods and styles, allowing you to discover and then hone your personal tastes and signature look, within your work. My design ‘handwriting’ evolved throughout university, yet, just like any taught subject, once you’re in the driving seat on your own, with the absence of instruction, you learn far more.
What are the aspirations for your next collection? Is your dream to eventually showcase at London Fashion Week?
My next collection aspirations are to develop, once again, a small capsule collection, this time perhaps not displayed on a catwalk but in a showroom with look books full of clean, contemporary imagery. The next collection is far more focused on the female form than before. There is much attention paid to print and bold lines, accentuating a sexier and cleaner physique, its highly wearable concept fashion, which is always what a designer strives to provide. Creativity and fantasy yet can be worn in various environments with ease. I do have dreams of showing on schedule at London Fashion Week eventually, but for now I want to experience as much as I can within this industry, before I properly start my own business. Working for different designers I feel is so vital to another creative’s professional education. Seeing how others conduct their work and learning different methods is a challenging and exciting opportunity. Perhaps New York is my next station stop; I would love to see the change in work ethic is over there, it is probably a lot faster over there.
Hemyca produces quite futuristic designs. How has working with them sculpted your collection?
Working for the Hemyca designers truly was an eye opening experience. They have a finely tuned signature look, which is strong and sexy yet very feminine and so considerate. The head designers also borrow inspiration from menswear silhouettes and styles yet construct the designs into beautiful pieces a woman can be proud to be seen in. We worked very well together as I understand the vision Helen and Myra (chief co-designers) have, It was so exciting working on their catwalk collections as the patterns always incorporated folded, 3D almost origami like structures, this helped my imagination when designing my own collection, it gave me the chance to push my ideas further as I knew what could be created and produced on a piece of clothing.
How has your upbringing shaped the way you think about clothes?
My family is very artistic and creative. My mother is a journalist, she used to edit a magazine called Menswear, sister to today’s Drapers, in the 70’s/80’s and also was fashion editor and a stylist on a magazine called Love Affair, therefore spending her working week with designers, stylists, editors and the rest, she had a strong eye for style and well cut clothing. When I was a child she noticed my lack of interest in sports and other typical boy orientated hobbies and pushed my interest in costume and fashion, she bought me books on Versace, Dior and my first Vogue. I would make clothes for dolls and keep files of small patterns and sketches. My great aunts on my mother’s side were also in the rag trade, having spent most of their working life as chief designers and pattern cutters for Edward Molyneux, it was obvious to my parents at a young age that I would want to work in the creative arts and fashion.
You obviously have a strong understanding of the female form, why is this so important in your designs?
Having an understanding for the female form is terribly important, as, put simply, your creating something for a woman. A woman is a strong, sensitive, creative and beautiful creature and to design is not just making something to cover a naked body, it’s to make the most of every natural curve and feature of the female form. Whereas I used to find the idea of a model wearing one of my designs on the catwalk the most exciting idea, I now want to see someone real in my designs. When a woman chooses one of my pieces and wants to wear it out and about town, that’s when the real excitement comes for me.
What is your proudest moment so far in your career?
My proudest moments so far would be an amalgamation of all the interest my graduate collection has received. My garments have been all over London in countless photo shoots, magazines and campaigns, I still can’t believe that it generates so much attention after this many months, it’s a fabulous experience receiving admiration from others for something so close to your heart.
What celebrities wear your clothing and who would you like to see wear them in the future?
No celebrities have as yet worn any of my designs, never say never though. The kind of woman I want to dress is someone who represents true talent and aspiration. The concept of fame and celebrity has evolved into something rather repulsive these days, so I wouldn’t want to endorse anything other than hard work and dedication, as that is what it will take to truly make a career worth having for myself and any other future creative’s in this business.
Words Jennifer Butler
