We learn a lit­tle more about this tal­ented young Dutch de­signer

The Snobby Runway - - Interview - www.liselore­frow­

How did you get into fash­ion de­sign?

As a kid I was draw­ing ev­ery sin­gle day, it started with in­te­ri­ors and houses, trailer and maps. I was very young when I told my mother some­thing new I’d dis­cov­ered about my­self; I could draw peo­ple! I started to draw girls and boys in coloured dresses. Later, when I was about eleven, I got to know fash­ion de­sign as an ac­tual pro­fes­sion. At first I as­sumed it would just be a fas­ci­na­tion, but in the end it was an in­evitable step for me to go to art school to study fash­ion de­sign right af­ter grad­u­at­ing high school. I’ll never re­gret the day I made this de­ci­sion.

What is your favourite thing about be­ing a fash­ion de­signer?

The dy­nam­ics and di­ver­sity that each day brings. Ev­ery day is dif­fer­ent, you have to be very flex­i­ble and tan­gi­ble. Ev­ery day is about decisions, mak­ing choices, it’s like a sport. I couldn’t live without it. My per­sonal, most beloved mo­ment of cre­at­ing new work is the re­search on the con­cept and ma­te­ri­als. This is the phase where I al­low my­self to make mis­takes, be­cause the un­ex­pected can be very in­ter­est­ing for the end re­sult. When de­vel­op­ing ma­te­ri­als, I lock my­self up with all the sourced ma­te­ri­als and con­cepts and start to try-out new things then from one step evolves the next. It feels like be­ing a re­searcher in a lab.

What has been your best ex­pe­ri­ence so far since break­ing into the fash­ion in­dus­try?

Be­ing part of the In­ter­na­tional Fes­ti­val de Mode e Photographie in Hy­eres. In April 2014 I was one of the ten fash­ion-fi­nal­ists from all over the world. We spent three weeks in the South of France in the beau­ti­ful, artis­tic Villa de Noailles to pre­pare the shows and our pre­sen­ta­tion to­wards the jury. Those days I did not only learn so much, but also got to know so many in­spir­ing peo­ple and for that I’m very grate­ful. I won the Prix Chloe with my de­sign for Chloe, and this opened many new doors. I can­not wait to go back there this year. I’m in­vited to show­case my new col­lec­tion at the ‘For­m­ers’ plat­form as a pre­vi­ous fi­nal­ist.

What has in­spired you to de­sign your re­cent col­lec­tions that blend a mix­ture of sport and lux­ury?

With ev­ery de­sign I create I ask my­self whether I would wear it or not. For work I travel a lot so I want to feel com­fort­able and look great at the same time. I’ve al­ways been in­ter­ested to find the con­trasts in my de­signs, whether this is about colours or ma­te­ri­als, and sport and lux­ury are each other’s op­po­site but on the other hand they fit each other per­fectly in mod­ern life.

You use many bright and en­er­getic colours in your col­lec­tions. Would you say that your use of these has some con­nec­tion with in­ject­ing pos­i­tive en­ergy and a sense of move­ment in your lux­u­ri­ous sports­wear line?

I sim­ply could not work without colour. Even white is a colour, and for me colours are ingredients to ex­press my work. Some­times I feel like a painter the way I build up my col­lec­tions. I add layer by layer, and colours are part of this. Per­haps my pas­sion for them adds the en­ergy you see back in the col­lec­tions.

What type of fab­rics do you use to create your gar­ments?

Many dif­fer­ent ones. The process of de­sign for me al­ways starts with the fab­rics. Af­ter my first in­tern­ship at Peter Pilotto in 2012, I got to know the source of the most beau­ti­ful fab­rics: Italy. Af­ter grad­u­at­ing, I got the chance to im­me­di­ately do an in­tern­ship at Man­tero Seta S.p.A, one of the fac­to­ries who pro­duces the beau­ti­ful jacquards I saw at Pilotto. Their clients are from the high-lux­ury in­dus­try, such as Kenzo, Chanel and Prada. At this mo­ment I still work for Man­tero, as the cre­ative di­rec­tor for their ac­ces­sories col­lec­tion: Man­tero 1902. I feel very priv­i­leged to work on my own col­lec­tion, but also to have the op­por­tu­nity to work in the source of it all; tex­tiles.

Where do you find the ma­te­rial that you work with and has there been any dif­fi­cult chal­lenges you have over­come when work­ing with any fab­ric?

Each new fab­ric has a dif­fer­ent char­ac­ter you have to dis­cover, so that will al­ways be a chal­lenge. I get my fab­rics from all over the world. In my last col­lec­tion we used a beau­ti­ful fluffy fab­ric from Ja­pan. It’s all red with a very nice, shin­ing touch and it looks like it has been knit­ted, but it’s wo­ven. I like it when ma­te­ri­als con­tain a lit­tle sur­prise, or if you need to have a se­cond look.

Who would nor­mally wear the Liselore Frow­ijn brand?

The woman I de­sign for has a very en­er­getic per­son­al­ity, with a sim­i­lar life­style I want to have. She is not afraid to show the world her bold, an­drog­yne and eclec­tic style and she is very so­phis­ti­cated. When she buys gar­ments she does it with care, it adds some­thing to her care­fully col­lected wardrobe. What do you think would be your strong­est skill as a de­signer?

I think I am able to adapt my­self to dif­fer­ent cir­cum­stances. This is how I can put my­self in the place of new clients and lis­ten to what they have to say. As I said be­fore, it is very im­por­tant to con­tain a cer­tain flex­i­bil­ity to ful­fil this job. To do so you need a kind of healthy life­style with good food, enough sleep and a good team of peo­ple around you. I think I have been quite lucky with how things are go­ing at this mo­ment. I try to cap­ture ev­ery op­por­tu­nity that comes my way, but in the end you have to be very dis­ci­plined as well. Noth­ing just hap­pens.

What’s next for your brand?

My first show in Paris is on March 3rd. I’m on the of­fi­cial cal­en­dar of Mode A Paris, and I’m very ex­cited to meet new peo­ple and op­por­tu­ni­ties.

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