Interview with Anna Vescovi

Anna Vescovi ("AV") interviewed on Sunday, 22 May.

Could you please tell us about your experience as a designer, artist, architect or creator?

AV : My creative journey has remained vast, beginning at the age of five years old. I worked professionally as a ballet dancer with internationally acclaimed companies for over 15 years. In the midst of my time with the Royal Danish Ballet, I was influenced by the possibilities of design within a world of creative prospect, especially within the realm of textiles. I then transitioned into a design career to broaden my understanding of art in new forms. In 2018, I shifted my focus within the Fibers Department at Savannah College of Art & Design where I'll be graduating with a Bachelor of Fine Arts degree for fibers studies in May of 2022. Textile majors are offered several industry-essential courses which dive into facets of digital applications for textile production. Innovative processes include laser cutting, flatbed printing, Rhino and other 3D applications which grew to be of interest with boundless creative prospect. In awe of the infinite possibilities between refined surfaces and cutting-edge technologies, I began crafting laser-cut acrylic chainmail tops as an innocent means of experimentation. These practices led to larger scaled projects, followed by the discovery of Spanish couturier Paco Rabanne. Compelled by his memoir, I began to gain confidence that I too could use my knowledge of kinetics and the human form to narrate a collection. Textile studies and experiments had unfolded into a keen knowledge of fashion, working hand and hand with professors from both SCAD’s Fibers and Fashion Departments. Before I knew it, illustrated flats transformed into full-scale garments, art direction evolved into on-set shoots and imaginative projects became internationally recognized awards. But despite the unexpected successes of these garments, I passionately enjoy the rush of the industry and the challenges of this niche appreciation for what M. Rabanne would call “unwearable” design.

How did you become a designer?

AV : I was very fortunate to have lived in some unique cities with arts-driven community initiatives. When dancing at Miami City Ballet, Art Basel had come to town around the same time as the commencement of the theater season. I’d never experienced such a vivid spectacle of shape, tremendous scale, color and unconventional ideas. Following my time with the Royal Danish Ballet, design had once again crept into my life, speaking though Scandinavian interiors, furniture and cutting-edge textiles. It was shortly after living in Copenhagen that I decided to pursue a creative education at the Savannah College of Art & Design. I can confidently state that I am grateful for approaching university with an open mind. What had begun as an intended focus in interior design studies had unintentionally lured me to the School of Fashion's fiber's department for a specialization in textiles studies. Never would I have predicted I'd be designing a fashion collection for my senior thesis.

What are your priorities, technique and style when designing?

AV : I've always gravitated towards the intentional simplicity of Scandinavian minimalism, with an emphasis on textures and strategic materiality. I tend to employ a neutral palette as I'd never been keen on excessive use of color from a personal perspective. The palette I select must also remain intentional through all facets of the design collection. For this lineup of unconventional garmentry, I've placed a significant emphasis on more unconventional qualities of the acrylic such as transparency and reflection. The Chrysalis Garment is a particularly great example from the collection. In this design, the body of transparent roundels fade into a reflective transparent property around the thigh, then complete the gradient through to an entirely reflective acrylic which graces the hem of the garment. The middle property of semi-sheer reflective acrylic is only apparent when back lit, showcasing the superpowers of the garment if you will. Close attention to detail completes the well-rounded cohesion of each garment’s role within the collection.

Which emotions do you feel when designing?

AV : This particular series of acrylic garments has served as a therapeutic outlet of personal healing and self-acceptance. Through the narrative voice of textiles, this collection of garments was created for my senior thesis work. My thesis analyzes the juxtaposition between past and present through freedom and confinement. This collection of acrylic garments serves as an allegorical parallel to my ballet career. As a professional dancer under contract, ballet becomes less about the passion for the art due to an unethical emphasis on unrealistic aesthetic standards of such an antiquated industry. The acrylic joinery is meant to restrict the form in a way which prohibits motion, symbolizing the complex internal feeling of entrapment experienced through ballet. Despite the dark undertones of the collection, the completion of this undertaking has encouraged reconciliation with the past, perfectly timed as I embark on my professional career into the world of fashion design.

What particular aspects of your background shaped you as a designer?

AV : When training as a young professional dancer, discipline, poise and elegance are imposed from an early age. The ballet industry expects artists to maintain a healthy mindset whilst working towards unrealistic aesthetic standards between rigorous hours of training. These consequential tribulations have provided valuable life skills which I subconsciously apply to each of my present creative endeavors. If there’s one critical attribute I set forth, it’d be resilience. For the first time in my design career, I've faced both pleasant and critical feedback on behalf of my work with unconventional materials. I've been asked difficult questions which sent me back to the drawing board, developed designs which didn't always work upon prototypes and faced unanticipated technical setbacks in the midst of narrow deadlines. Creative burnout is an inevitable roadblock all faced by all artists and designers, leading to a big question mark beside our value of self worth. Speaking from experience, a resilient mindset lights the way to steadfast perseverance.

What is your growth path? What are your future plans? What is your dream design project?

AV : My journey with fine art textiles and material innovation has led me to a very coveted moment in my relationship with fashion. In working collaboratively with garment designers, accessory students and through brief exposure to couture at Iris van Herpen, these journeys and discoveries have enforced the importance of textiles as it pertains to unconventionally wearable design. With this unique collection of understandings, I wish to continue further developing laser cut materials, perhaps experimenting with bio plastics, draping, patternmaking and alternative manipulations of surfaces through the process of joinery. In the past year alone, I’ve made significant headway in the development of my acrylic garment series. I wish to push these discoveries even further, carrying forth the momentum of recent discoveries. Ideally, my inspired goal is to contribute my knowledge as a chef de produit maille et mesh for Paco Rabanne within his Paris atelier. A supporting role in maintaining M. Rabanne’s legacy would serve as an effort towards preserving an integral link in the history of fashion.

What are your advices to designers who are at the beginning of their career?

AV : As a designer who navigates industry through intuition, I encourage other young designers to listen to their heart. At university, most institutes offer a variety of programs which are centered around similar facets of design. Remain open to new possibilities, collaborations, suggestions and feedback! Speaking from experience, I arrived at the Savannah College of Art and Design originally for interior studies, but through an inquisitive mindset, my journey was unexpectedly led to the fibers department within the overarching School of Fashion.

You are truly successful as a designer, what do you suggest to fellow designers, artists and architects?

AV : Speaking from a textile design perspective, I strongly advocate the significance of forming a relationship with your materials, understanding their properties and tactile DNA from the inside-out. Comprehending complete qualities of a material is essential in crafting a piece which customers can formulate a sentimental relationship with. The importance of tactility is often taken for granted, yet is psychologically fundamental in stimulating emotional communication, sentiment, bonding and recognition. As Michelangelo once said, “to touch can be to give life.” Secondly, take your time in formulating educated decisions between the intentions of your designs. Our technologically-advanced modern age has grown to be unrealistically fast-paced. Trends interchange in the blink of an eye, yet the most thoughtful designs remain timeless and long-lasting. As previously mentioned, a care of craftsmanship, meaningful intention and respect for the needs of your customer are invaluable in creating a meaningful project. To further investigate these principles, I strongly recommend Glenn Adamson's book, "Fewer, Better Things."

What is your day to day look like?

AV : As a student, each day presents new possibilities and creative prospects! One aspect remains consistent, the morning always begins with a strong cup of coffee. University classes consist of networking opportunities, project critiques, industry guest visits and provided knowledge of course-relevant understandings. Projects, especially for fashion, are multi-faceted. Apart from material prototyping and sampling, digital preparation and garment making, I must also take on the role of art director, stylist, publicist, graphic designer and on the rare occasion, make-up artist. These elements support the basis of well-rounded preparation for a spontaneous and fast-paced career.

How do you keep up with latest design trends? To what extent do design trends matter?

AV : In the world of fashion and materiality, modern trends remain an impactful influence in dictating many design decisions. Speaking on behalf of my collection, I tend to look towards the past to achieve a forward-thinking design. All modern-day trends are derivative of a combination of historical influences with innovations taken from past decades. Many popular fashion trends of today, one specific example being the Y2K movement, is actually a representation of influences from the collective 1940s and 70s. These decades merged into a very distinct style of the 21st century's first decade. Pulling from the past is both a subconscious and conventional method in executing contemporary ideas. It's exciting to think that our present-day creative contributions will influence the work of future generations to come.

How do you know if a product or project is well designed? How do you define good design?

AV : Innovation is an integral aspect of what one may consider "good" design. There are a lot of designs in existence with great aesthetic standards, but the intentions behind a strong design make all the difference. How does this proposed creation interact with the world? Can it make an impact on societal needs? These were questions I asked myself when developing joinery material. When speaking on behalf of my collection, ethics come into fruition with joinery's strategic one-size-fits-all approach. Throughout my ballet career, I’d understood corseted costuming’s restrictive fabrications to prohibit movement and snuff self-expression. Joinery presents malleable properties, elegantly designed for all shapes and sizes. Such capabilities are made possible with simple alterations in adding or removing assembled pieces. A single garment possesses the all-powerful ability to fit any individual without damage to the attire, revolutionizing fashion fabrics from the self-deprecating qualities of unforgiving debilitation. A "good" design isn't surface level, but works to solve a problem surrounding everyday needs of everyday scenarios.

How do you decide if your design is ready?

AV : All independent designers know that it can be very difficult to decide when to call it a day. Our job is unique in a sense that there is not always a decisive moment where our role is "complete;" it's up to us to decide when to consciously move forward. This can be a significant challenge for detail-oriented creatives like myself. Over the course of this garment collection, I've created an abstract sequence of events to help move my process along, setting personal deadlines which allow me to progress efficiently, just as I would in a professional setting. It's inevitable to dwell on tedious aspects of a design, as there are infinite prospects which can hinder necessary headway. If I anticipate roadblocks or tribulations, I'll allot a few more days to that specific area to which I'm not feeling rushed, yet can maintain momentum within the assignment.

What is your biggest design work?

AV : I thoroughly enjoy creating each garment; individual works contribute unique challenges and victories through their respective elements. I admit there is one specific design which pulled the intrigue of many. The Chrysalis Garment has been one of the most impactful looks of the lineup. Earlier this year, I had the privilege of working with a talented colleague who agreed to model this particular look. I might add, this garment is quite scandalous in its transparent nature and doesn’t shy away from showcasing the complete form. Once our shoot had wrapped, she explained that she’d often felt insecure about her physique, struggling with self image and confidence. When she received the final images, she expressed that she’d felt so empowered, supported and elegant in a garment. Her confidence was apparent in the final images; hailed as a timeless example of fashion and photography across SCAD’s School of Fashion. As a designer who faced similar insecurities throughout my ballet career, the greatest, most rewarding compliment is to provide others a feeling of empowerment from a collection which aims to symbolize just that.

Who is your favourite designer?

AV : Paco Rabanne is one of the first high-profile designers to use joinery as a means of unconventional high-fashion application. As an architect turned couturier, his approach to dressing the physique is heavily material-based with an emphasis on form and structure. Rabanne’s 1966 fashion manifesto collection of “Twelve Unwearable Dresses” catapulted him into the exclusive and traditionally rigid world of couture. His earliest showings at the Hotel George V as well as his Parisian strip tease at Crazy Horse Saloon, transformed runway into a theatrical affair in a frenzy of paparazzi, media, it-girls, collaboration, innovation and scandal. Rabanne’s creative investigations with joinery are exceedingly vast; leather, metal scraps, rhodoid pieces, lozenges, buttons, paper and plastic were pieced together in a variety of shapely structures and forms. One of the reasons the new wave of open-minded it-girls flocked to Rabanne’s vision was his ability to re-write couture as imaginative and accessible to all. The power behind his theatrical garments exceeded beyond the image, instead taking a deep-dive into a realm of empowered physical embodiment.

Would you tell us a bit about your lifestyle and culture?

AV : As I complete my academic studies at the Savannah College of Art and Design, I appreciate this quaint little city full of abundant history and boundless creativity. Despite Savannah's traditional southern roots, SCAD has brought multi-faceted designers together as a tight-knit creative community for over 40 years. With students from over 100 countries and all 50 US states, Savannah has exhibited a wonderful surge of artistic development and cultural enrichment. Collaboration between other students of similar facets have provided enlightening experiences which contribute to the city's abundant lifestyle. Although Savannah remains geographically small in relation to the blueprints of other cities, SCAD's resources and diverse community encourages elevated design and cutting-edge developments which have expanded to impact the international design industry.

Would you tell us more about your work culture and business philosophy?

AV : I don't necessarily consider my creative endeavors as "work" but more as a time for play a with side of responsibility. I often work alone and find this method suits this particular season of life. I do realize that with the growth of a brand comes shared management to which I look forward to expanding teams efforts through freelance.

What are your philanthropic contributions to society as a designer, artist and architect?

AV : As I embark on a journey into the professional industry, I plan to include percentage donations and arranged media auctions towards humanitarian causes. More recently, I’ve noticed design professionals generating media frenzy through high-demand high bid wars from product auctions. This concept not only aids in design exposure, but provides essential and often urgent proceeds to the organizations which support local and international communities in need. Through time in university, I’ve grasped the importance of a collaborative community. When working as a student, there’s a very special sense of mutual respect upon the sanctified process of partnering with creatives from other departments. Photographers need a subject to shoot, designers need a model, model’s need makeup artists- so on and so forth. In a scholarly setting, we rely on each other’s support to strengthen our portfolios, formulate a network foundation and prepare for real-world experience. It is very special when those same efforts of teamwork and moral support are cultivated in healthy and professional industry environments.

What positive experiences you had when you attend the A’ Design Award?

AV : The A'Design Award has been an incredible source of support and exposure, providing designers of all walks of life with a celebrated voice. As a novice within the creative community, I have been warmly welcomed by A’Design with open arms. Achieving international notoriety is a challenging feat in such a competitive field, yet A'Design has offered the resources to provide its designers a platform for presence! I feel a tremendous sense of gratitude for being recognized as A'Design Award's Designer of the Day. It is a significant honor to be celebrated amongst your community of esteemed creatives, thank you!

Anna Vescovi Profile