For the London-based textile designer Nelly Rose, on top of placing elements of traditional craftsmanship and up-cycling in the centre of her eccentric textile artwork, the power of collaboration is key. The main themes running through her expressive textile lines are female empowerment and creating a ‘voice’ through her conscious craftsmanship. Nelly Rose is extremely concerned about the de-valuing and vanishing of traditional techniques that should be cherished and preserved instead. Through her vibrant, empowering prints — forever, if we may.
Photo by Marilu Venditti.
What led you to sustainable approach in textile design? How unique is your approach in London vs on a wider, global scale?
I have studied Print, Knitwear and Embellishment, and all of these have led me to make more conscious decisions about the materials I was using and where the techniques derived from. In London, my approach is very much inspired by the concept of 'upcycling' and DIY-culture. On a global scale, my work is lead by my curiosity and passion for handcrafts and discovering their origin; nothing excites me more than being able to include them in my collections. I am currently exploring Japan, absorbing the culture and discovering all kinds of beautiful craftsmanship [from the region].
What are the values your brand encompasses? What are the main themes you are keen to explore?
My values as a brand lie in working on projects which focus around female empowerment and creating a voice through a creative medium. I have worked in various projects from ‘shop window stitch-ins’, raising awareness about the Rana Plaza factory collapse, to the first modest wear runway collection in the UK made entirely in artisan houses in Indonesia.
I tend to use a lot of typography in my work, which I guess contributes to the idea of raising a ‘voice’. Overall, the main themes I explore in my work are: Handcraft, Messages and Storylines, Protest and Equality, Printed Textiles, Creative Campaigns.
"The brand I strive to create is my expressive vision of what I consider to be ethical in my own way, whilst still being loud, bold and a little eccentric."
Photo by Marilu Venditti.
How does Nelly Rose as a person and as a brand differ, if at all?
Interesting question! I would say my personality as Nelly Rose mainly focuses on networking and bringing people together, who have similar mindsets about changing the world in creative ways. I guess Nelly Rose is my rainbow vision, my compassion and my voice. The brand I strive to create is my expressive vision of what I consider to be ethical in my own way, whilst still being loud, bold and a little eccentric.
Your work was recently showcased at the Green Fashion Week in Milan. What does the experience mean to you?
Green Fashion Week was a brilliant experience as it fused together my interest in global climate change, as well as having fashion at the forefront. The new collection I showed was of hand painted up-cycled garments, ranging from denim to leather, which I salvaged from a textile waste plant. My highlight of the experience was the photo shoot I directed at the Bosco Verticale alongside designer Silvia Giovanardi. It fused the relationship between sustainable fashion and architecture, and it was very inspiring to witness my work being a part of that.
Although I love the ‘calendar’ fashion weeks, I also have to express my love and connection to other global fashion events such as AFWL (Africa Fashion Week London) and the recently participated in GFW. I find that there is an open dialogue and a more personal level of fashion presented.
"I tend to use a lot of typography in my work, which I guess contributes to the idea of raising a ‘voice’."
Photo by Marilu Venditti.
What are the most meaningful collaborations you have done so far? What do you consider perhaps your biggest accomplishment?
I consider my biggest accomplishment to date the Co-Identity collection which has been showed at the Jakarta Fashion Week and then London Fashion week via Fashion Scout. The collection was a collaboration with Dian Pelangi and Odette Steele in which involved fully immersing myself in Indonesia as an inhabitant and creating the textiles for the full 24 Looks of Modest Womenswear. These consisted of fully hand rendered techniques ranging from hand painted gowns, Batik and Songket weaving.
Making of: Nelly Rose Artisanal Textiles.
What irritates you about the fast fashion industry? Why do we need a slower approach?
The fast fashion industry irritates me mainly because of mass consumption and the de-valuing and plagiarising of traditional techniques. I believe in a slower approach to prevent the de-humanisation of garment workers in the supply chain, thus preventing the capitalisation of poverty. We take such an avid interest in the ingredients that go into our body or our pharmaceuticals, so I don’t understand why we don’t have the same mindset about what we wear on our skin. The industry deliberately makes it hard to question, and easy to ignore, so it is imperative we constantly ask #whomademyclothes.
Do you personally feel it is more difficult to deliver work using ethical and artisanal approach?
I believe that in order to deliver a luxury product, there should be a transparent process. In my personal work, the initial process is more difficult, as it can be more costly as a young emerging designer; however I am constantly trying to inform myself in ways I can maximise the artisanal approach. I have a vision of working with artisan communities across the world to collaborate on beautiful creative outcomes, and I will carry on finding the most efficient ways to deliver these collaborations.
"The fast fashion industry irritates me mainly because of mass consumption and the de-valuing and plagiarising of traditional techniques."
Nelly Rose, credits: Laila Cohen / Imprint Magazine.
How would you categorise yourself in the fashion world? What's the most important message you aim to deliver as an artist?
I predominantly refer to myself as a designer because I like to create wearable pieces which tell a story. However, as designer refers to the process prior to a piece being created, I also refer to myself as a creative director because I love to work with a concept in various forms, such as film and installation. Ultimately, I aim to deliver an outcome through the power of collaboration, which reflects the journey and honours the craft.
