The Canadian designer on androgyny as a trend and debuting his looks at London Fashion Week
Photo: Courtesy of the designer
Established 21 years ago when the Central School of Art & Design merged with Saint Martin’s School of Art, London’s Central Saint Martins (CSM) is one of the premier academic institutions for the arts in the world, counting among its distinguished alumni the late great Alexander McQueen, John Galliano, Stella McCartney, Hussein Chalayan, singer-songwriter Sade and actors Pierce Brosnan and Colin Firth. A veritable goldmine of talent with a student body small enough (approximately 5,000 undergraduate and graduate students) to really champion its most promising young artists, CSM is, as one recent graduate told me, “a very special place.”
Nowhere is CSM’s support of its recently graduated own more apparent than it is with fashion designers, a small group of whom are selected each year (by Professor Louise Wilson) from the graduating Masters class to debut 10 looks from their first collection during London Fashion Week. Among this year’s group of 18 was 22-year-old Montreal native Thomas Tait, whose angular, all-black creations stood out not just for their aesthetic originality but also for their remarkable sophistication and strong, collective cohesiveness.
I got to speak with the Canadian designer recently about many things, including how he found out his clothes would be on the runway at London Fashion Week, how he feels about androgyny as a trend, and why he’d love it if someone paired one of his brushed wool overcoats with mesh basketball shorts. Plus, I had to inquire about those monster heels his models wore during the show. Apparently, Tait has a skilled eye for accessories, too, as the near 6-inch aqua/lime platform booties were his own original design.
Enjoy!
Have you always wanted to pursue a career in fashion, or were there other stops along the way?
No, I didn’t, and sometimes I wish I had that great childhood story involving fashion, ateliers, and dressmaking but I just don’t. I grew up in the suburbs of Canada and was never really exposed to fashion. I think it's one of those things that happened inevitably—fashion design is something I have a natural ability for.
Which aspect of the design process do you enjoy most?
I have to say sketching and gathering rough, initial ideas is usually my favorite part of the process. In those early stages, you really begin to tap into the general mood and idea behind the work. It’s usually at this point that I capture a mental image of what I aim to reproduce within the collection and presentation. The process of creation that follows feels a bit like a hunt, like I’m chasing after a particular moment that only exists in my memory.
In what and where did you do your formal training before you arrived at CSM?
I never went to art school before applying to the MA program at CSM! It was a bit of a gamble, but now I see all the technical knowledge I acquired along the way, like cutting patterns and sewing, was invaluable.
You design and cut patterns and sew?
I do. I cut all of my patterns and do most of the construction myself. This makes the process quite labor intensive but it also gives me full control over every piece. I like knowing that I can shape each garment with my own hands and assure that everything turns out exactly as I have envisioned it.
Describe the moment when you found out your collection would be included in the show during London Fashion Week.
I was standing in front of our course director, Louise Wilson, and one of my tutors. It was during a six-outfit lineup and I hadn’t slept in about 3 days. I was a bit of an exhausted mess. Louise casually asked my tutor if I had made it into the show, and she responded by shrugging. Louise then turned to me I told me I had made it, and that was that! I was relieved and also very happy to know a full week before the official selection list went up outside Louise’s office.
The 10 pieces you presented were very angular, a little on the androgynous side, and exclusively black (which I love!)—what was the concept?
First, let me say that I love color! Black is not a rule to me. My MA collection turned out all-black because that’s how it developed. Color is not immediately noticeable in my work, but I do have a strong attachment to it. I would prefer to take my time and integrate color into my collections gradually.
As for the angular nature of the clothes, this collection in part stemmed from my fascination with shoulder blades and pelvic bones. I usually envision silhouettes as a result of my study of form and proportion. I develop fixations with certain parts of the body and visualize silhouettes from that.
What materials did you work with to create that strong structure?
Brushed wool and cashmere blends, mostly. I like it when a fabric can be molded with just steam. Heavy silk and lycra-blend knits are also very nice to work with.
What woman do you have in mind when you’re sketching those pelvic-bone-inspired silhouettes?
All sorts! And boys too, lets not forget about them! I have to say, though, I like women who have a somewhat aggressive sense of mystery about them. These days, if you manage to intimidate me I’ll probably find you a bit more inspiring.
That being said, my designs are not for everyone. I think it would be a little arrogant and naive of me to assume that my pieces or aesthetic can suite everyone. Adequate fit and structure is vital in the creation of each piece, which is one of the main reasons why physically, my pieces are not for everyone. It is very important to me that the garments interact effectively with the body; I want people to feel as if there is logic behind the cut of a garment. Each person has their own shape and proportion, people need to embrace that and dress their bodies accordingly.
All high-fashion, in general, is not for every person—it appeals to each of our different fantasies.
Do you see fashion as fantasy, then? Or is wearability an important consideration for you?
Wearability is a tricky subject, I have been criticized at times for making very structured garments and creating silhouettes that are somewhat…odd. But of course if you break each outfit down to its individual pieces you realize that the silhouettes might not be quite as aggressive at they were at first glance. No one is being forced to wear a top-to-toe look, of course!
How would you describe the Thomas Tait aesthetic?
I think it’s a bit early for me to be describing my design aesthetic in a precise manner. I don’t want to corner myself by making bold and pretentious statements. At this point, I think it’s best to let the visuals do the talking.
I have to ask…who designed the crazy high ankle boots the models in your show wore?
I did! I had them made here in London.
Which of the other students’ collections from the CSM show did you like?
I quite liked Trine Guldagers’s collection. She’s a fantastic menswear designer. She really has a refreshing outlook and understanding of the male body.
Which other designers have influenced your work?
Alexander McQueen was someone who really made me notice the “space” surrounding the designs. I think his manner of presenting collections helped me understand how to communicate a world or a moment rather than simply displaying garments.
Azzedine Alaïa has really motivated me to be extremely involved in the garment construction. His pieces all have a very distinct touch to them. There’s something about the way he works with fabric weight and proportion that is very him—you can always tell his hands were involved in the cut and construction of each piece.
Which other designers’ clothing do you think would complement yours best?
Tough question! These days I’m really tempted to see my clothes mixed up with very “unfashionable” garments. I think it would fun to see people wearing a structured runway coat with sports-mesh basketball shorts—or even tracksuit pants. As for a specific designer, I think Phoebe Philo has hit the nail on the head when it comes to chic and clean. What she is doing at Celine right now is quite a bit more feminine and lighter in spirit than what I do, but she has a way of making strict garments somehow end up looking very daytime-friendly.
What about celebrity designers—good for fashion?
Most of the time, no. However, I am happy to see The Row develop into a respectable brand with strong quality pieces. I think Ashley and Mary-Kate Olsen could have easily been an instant-success, celebrity power brand but they’ve chosen a different route; they are very quiet about the brand and are clearly developing it carefully. With their resources and budget, I find it extremely impressive that they have taken such a humble path.
What are you currently working on?
I’m looking into setting up a studio space here in London. But the number one priority right now is funding! I would really love to continue my work and develop a brand. Showing during Fashion Week here in London, or at the very least presenting some fresh work in an interesting manner would be fantastic. but in order for that to happen I need financial support. It’s a bit of a tiring story but sadly, that is the reality of being a young designer.
No comments:
Post a Comment