LOUISE L.B.
->AW23 INTERVIEW

BETWEEN HAUTE COUTURE AND PRÊT-À-PORTER: A CONVERSATION WITH THE DANISH FASHION DESIGNER LOUISE LYNGH BJERREGAARD ON SPAWNING NEW FORMS

28 February 2023, Paris. For AW23, Louise Lyngh Bjerregaard presented a seminal collection that blurred the line between fashion and wearable art. A classically Parisian mantel occupied the center of the room, set against a backdrop of erratic paint swatches that stretched from wall to ceiling, tastefully complimenting the tattered sophistication that emanated from the runway the moment that the first look made its way backstage and the second followed. The element of lighting was completely omitted from the set design, making it impossible to view the garments for a prolonged period of time unless the models were illuminated by interjections of flash photography. Moment after moment, you couldn’t discern exactly what you were looking at, but you felt the sense that it was of utmost importance. And it really was.

“Unbothered and untouched, but dragged through it all,” read a beautiful line from the press release, and in retrospect, it encapsulates the theatrics we all witnessed or felt. The Bjerregaard silhouette is both done and undone; the figure is polished and cloaked from head to toe, with unraveling drapings and fringe that envelope the body, achieving a balance between pristine mechanics and handcrafted sensibilities. Without comparison, the designer has created a world where volume and fitted materials can coexist, and lucky for us, we were able to animate some of them on model Justine Mae Biticon for our AW23 editorial that highlights these long-awaited show pieces. Louise Lyngh Bjerregaard’s work is deeply informed by a multitude of influences and sources, and here she joins us to discuss her latest collection.

VL: How would you describe the brand’s core identity, (if such a thing even exists), and if so, how did you go about translating it into the physical form of clothing? The cuts, the textiles, the proportions, the identifiable silhouettes we have come to know, what aspects of their design process feel the most fundamental to you?

LLB: It's all connected. At the core of my work is the fusion of diverse influences, uniting the vitality of the streets, the excitement of fantasy, a touch of couture craftsmanship, historicism, and dark romanticism. My work has been recognized for pushing limits, challenging conventions while celebrating the enigmatic and sensuous aspects of life bringing a new sexy silhouette to the table. Each piece becomes a canvas for wearers to channel themselves, embracing the past, the present, and stepping into the future in a way that time stands still for a moment.

VL: Your earlier work contained a lot of tubular formations at the hem, giving the clothing a flared silhouette, like a formation orbiting the body. We also see this circular, loop motif present in the mesh and chenille knit dresses from AW21. How did this configuration come to be?

LLB: The incorporation of the formations at the hem represents a recurrent motif discernible in my earlier body of work up until SS21 and is now a part of my archive. The genesis of this particular design configuration can be traced back to my time spent at Central Saint Martins in 2015, where I confronted the creative challenge of working exclusively with discarded materialsand found this material at an industrial upholstery shop. It was during these explorations that the inherent dynamism and visual intrigue of tubular forms first came into focus so you can say that the visual language emerged organically from the interplay between material limitation, artistic innovation and the body. Subsequently, it attests to the creative fecundity that thrives within the confines of resource scarcity.

VL: Where do you source your materials from and how do you decide if you want to create something out of it?

LLB: I source materials from a variety of avenues to breathe life into my creations. One of my primary sources is Nona Source, a subsidiary of the renowned luxury conglomerate LVMH. Nona Source is instrumental in providing a curated selection of dead-stock materials that align with the vision and values of my designs. Collaborating with them allows me access to a wide spectrum of high-quality, ethically-sourced fabrics that are not only visually captivating but also resonate with sustainability and responsible sourcing, a critical aspect of my design ethos. Nona Source was for me the missing link between sourcing low quantity deadstock which used to be my go-to to suddenly being able to scale on production. In addition to external partnerships, a significant portion of my materials are crafted in-house. This approach stems from my unwavering commitment to infusing uniqueness and exclusivity into my collections. By working closely with my in-house team and a team of skilled artisans and textile experts, I have the privilege of crafting bespoke fabrics that are tailor-made to manifest the essence of each collection. Now, when it comes to deciding whether a particular material is destined to become a part of my creative process, I engage in a dynamic and deeply intuitive dialogue with the fabric itself and with a few people within my team. This dialogue is central to my creative process, as I believe that fabrics possess their own stories, textures, and personalities. By closely examining the material's intrinsic qualities, such as its weight, drape, texture, and colour, I discern its potential to articulate the envisioned silhouette.My designs are, in essence, a collaboration between my artistic vision and the fabric's inherent character. It's a harmonious synergy where the fabric informs my creative choices just as much as I shape its destiny within the collection. This symbiotic relationship ensures that the final silhouette is not merely an imposition of my design, but a true manifestation of the fabric's unique essence, allowing it to come alive in a way that is both authentic and enchanting. Ultimately, the decision to create something out of a particular material is an intricate balance between aesthetic intent, ethical considerations, and the fabric's individual narrative. It is through this dynamic interplay that my designs gain their distinctive character, embodying the spirit of dialogue and collaboration that lies at the heart of my creative process.

VL: Your AW23 show contained an explosion of details that require some unpacking. Specifically, the patches of fur, the feline print garments, and the ‘Shadow Kitty Hat’ with the gauze fascinator draped over the eyes. It summons an image of a nebulous cat-like figure emerging from the darkness of an alleyway, after a night of rummaging through piles of articles and items left behind—I must also mention that the moon motif and dimmed runway only heightened this visceral association. What inspired this collection and the theatrics of the show itself?

LLB: I wanted to demonstrate my skills and the power behind. The visuals of the show were brought to life by Creative Director Claire Arnold. Claire played a pivotal role in translating my vision into a captivating and immersive experience for the audience. We worked with set-designer Justine Ponthieux, movement director Ryan Chappell and Ava (A Portal to Jump Through) who composed the score from scratch and wrote afterwards that the show ripped a hole in the universe. Which was the intention. One review from a front row journalist actually pointed out that “although you couldn't see half of the collection because of the dimmed light, you knew it was genius.” How's that for a reputation. Journalists can’t see it but they automatically know it's genius.

VL: What was the most gratifying garment to complete from this collection?

LLB: That's impossible to answer. Every single piece had its own memorable process; from dying to felting, hand sewing, complex knitting, fit, and the list goes on. The skill level in my atelier is quite high. I was blessed with an amazingly sweet and patient fitting model, Ash Fjeldhagen who became the in-house muse for this season. We ended up draping and constructing a lot of the collection directly on Them. Fittings, silhouettes, tactility, and draping are one of my most special skills and to see the final balance of this collection has been the most gratifying moment across all the garments.

VL: The attitude that your models convey on the runway is extraordinary. It is poised, yet seductive. Punk, yet feminine—and it’s done with such an aggressive elegance. It is difficult to attain this without it coming off as campy or overly performative, or simply—unfashionable. Having viewed clothing on stoic models for decades, to then, experiencing your runway shows, has made me wonder why presentations continue to be hyper-monolithic, especially in an age where distinction remains salient. What compels you to showcase your collections the way that you do?

LLB: As an artist this is what my work looks like and this is what I wanted to demonstrate with the show. Shows are an integrated part of my process towards completing a collection; completing a vision. Runways also serves as an incredible platform of communicating to the world through movement, casting, music etc. and when done right it merges with the narrative of the clothing to create something new; to pass on an experience, to speak of structures in society and to enrich people's lives, even if it's just for a brief moment.

VL: Sometimes it feels like there is a paralyzing force which makes stylistic innovation impossible; all that is left is to imitate dead styles in the imaginary museum. Have we witnessed everything there is to be seen? The images we process, the forms we know, how do we respond to them in the context of trends and trajectories? How do you innovate as an artist?

LLB: There are so many worlds that are yet to be discovered. So in my opinion, we haven’t seen everything there is to be seen. But maybe for some, the loop of research remains the same? Maybe it's breaking that cycle and seeking new territory? Innovating for me as a practice is about challenging oneself, questioning the existing, and exploring new ways. Staying true to yourself, your expression, minding your own lane and not always looking at what others are creating can facilitate an incredible piece of mind and will allow for new creativity to flourish. Maybe to cut through the noise, we need a bit of silence. and significance.

VL: The avant-garde recedes into the past, it also returns from the future, repositioned by innovative art in the present. What do you make of this, and how does it affect the way in which you create new work?

LLB: My design is deeply rooted in experimentation and my need for visual expressions. I challenge conventional notions of style, fabric, and form, seeking to create garments that are not just clothing but to the point where it becomes wearable art. I draw inspiration from a wide range of sources and abstract concepts, to create designs that are both thought-provoking and visually unlike any other in the fashion landscape now. I'm not afraid to break free from established norms and traditions, and I often use unconventional materials and techniques to achieve my vision. Another key is the willingness to take risks and explore uncharted territory. Embracing The risk of being alone and misunderstood. This approach allows me to create fashion that challenges preconceived ideas and invites people to see clothing as a form of self-expression and storytelling. It also means staying ahead of the curve and anticipating future trends, like what happened with knitwear and quiet luxury. I believe that fashion should be a vehicle for self-expression and a medium for pushing the limits of creativity, and that's the core ethos that guides my work.

VL: What is the most beautiful thing you’ve seen this week?

LLB: Nature and kindness in humanity. And of more materialistic things it is a rectangular ornament of birds made in dark wood and covered with gold that was hanging on a wall and then a speaker system in nature made of glass.

VL: Can you share a spontaneous image with us? No context.

LB: