Roberta einer interview instyle.co.uk how to read binary

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‘This takes six weeks to weave by hand. And then this embroidery takes another six weeks to do by hand.’ I’m standing in Roberta Einer’s South East London studio as she shows me around her work. Around us, her team of seven, work quietly, some are pattern cutting on the floor, others are carefully sewing while another two chat through spreadsheets of orders. It’s gentle and calm with Solange playing softly on the sound-system, the complete antithesis to other studios I’ve been to where the teams are wired on caffeine and racing to get orders finished. ‘I learned how important a studio atmosphere is when I worked with Oliver Rousteing at Balmain silver chart 100 years. There was 12 of us on his team, and the studio was such a beautiful and incredibly relaxed environment. Everyone was so happy to be there. So I knew when I had my own studio I wanted that same feel.’


Roberta’s studio may be calm but her creations are anything but subtle. Two years ago, her saccharine coloured cheerleader inspired graduate collection caught the eye of the critics and quickly had her tipped as “One to watch” by the British Fashion Council’s NewGen committee. And now Roberta is showing no sign of slowing down with her interesting use of unlikely textiles and textures plus innate attention to detail winning her fans and stockists all over the world. Here the 24-year-old talks becoming a rebel and what good taste really means…

Yes, I grew up in Estonia and I had a very happy and hands on childhood. My grandma taught me how crossstich, we’d make cushions at Christmas time and I was always outside and building things. That was a normal childhood in Estonia pound sterling to us dollar exchange rate. My parents had a shoe store and my dad really wanted me to be an amazing business minded person so when he realized I wanted to be creative, they sold the business. They were terrified and scared of my career choice as in Estonia a fashion business isn’t a thing.

As teenagers we really tried, like all through the 90s/2000s, everyone tried to be Western but without having the access to it silver chart price. We were always behind. I remember no one had Levis. Then my mum got a Levis jacket and it was the coolest thing. Like the coolest! And she had sunglasses where you could change the colour of the lenses from blue to green. That was the 90s when I was kid us dollar euro exchange rate history. And then in the 2000’s, when I was a teenager, it was very glamourised. It was the blingy bit. Growing up, we would go on shopping trips to Finland or Stockholm on the boat and buy things that you think would match. I always explain that the first H&M only opened 3 years ago. That sums it up well.

I knew there was no other option. I wanted to apply to the best design schools in London and knew that if I didn’t have a UK education I wouldn’t have a portfolio to be able to do so pound euro exchange rate today. So I moved to London when I was 15. The first time I came to London was for a school interview. I was terrified. I got into a school in Surrey. I was a week boarder there and then I was really lucky as I quickly made friends and would spend weekends with them and their families.

Yes and I moved straight to East London and dyed my hair pink. It all happened over night and I kind of then tried to rebel against everything and do all the things everyone said not to do and really experience London. After my foundation year I went to Westminster. There, they really know how to prepare you to start your own thing. They give you structure. I’m such a chaotic person as many designers are that they make you follow at least some rules.

During my foundation year, I interned at Alexander McQueen python tutorial download. It was the first season when Sarah Burton started. It was super strange but a really interesting transformation time. Everyone was really aware of his legacy and thinking what would Lee do and talking about it a lot. And then you saw the challenges designers have because of that, and you’re still working a brief because you have not set your own signature yet dow futures market hours. But it was really interesting and really hard work. I’d finish uni at five and then go there until 3am. And lots of people write horrible things about how internships treat them but I never thought about in that way. It really preps you for being a designer and doing your final year.

I had read an article where she had written about femininity and about her adult work, and how it didn’t define her as a woman and I thought yes, whatever you want to do, no one should judge you about that, and that’s what being a modern woman should be about usd jpy news. So I wrote to her and we became pen-pals and decided to work together. We shot my SS17 campaign over 3 days and everyone involved including Jessie did it for free because we just wanted to work together and create something. It was a beautiful idea of being a woman and how no one is going to judge you or take you less seriously because you’re wearing pink or you shave your head. So when people ask who is your dream customer there really isn’t. Everyone who I have seen are all different kinds of woman. It’s not stereotyping a customer.

Yes and you need to have an awareness of what is going on. Young designers have become much more aware of issues, that we weren’t aware of before. I voted but I didn’t pay that much attention to Brexit because I didn’t think it would actually happen. But then when it did and the pound dropped 17% in 24 hours and all my invoices were done in USD that meant instantly I was getting paid 17% less than what was budgeted stock market cnn futures. So suddenly I was very aware. The results have made everyone more aware and political in their work.

I was in NY and randomly went to an exhibition of Raymond Pettibon who is an artist whose work is based on the punk skate scene. He had lots of politically and naïve quotes and scribbles and I thought it was a lot like mine. And the same humour as my work. Then I went home to Estonia and his exhibition was there as well. And I was like why would that be here too? And then I found out he was half Estonian. When I started researching him I came across his work on the late 70s/ early 80s Californian skate and surf scene. It was about rich girls who used to drain their swimming pools when their parents were away and invite rough looking skate boys to use them to skate. There’s a sense of youth and hippiness to it but they had a very specific style into how they wear things. So for the collection it is almost re-imagining a girl as if she was there but as if it was today. As part of it I’m doing a collaboration with Vans. And all the sequins and prints link back to the 70s and that semi disco scene but again in more modern silhouettes, like oversized t-shirts that you’d steal from your boyfriend.

Yes I like to use it to challenge people’s ideas of it. I don’t think wearing it defines if you are girly or not usd to pound conversion. Or a feminist or not. Some of my previous work was inspired by Russian prison tattoos and researching into what things meant. So the elements on the dresses were blown up and have a dark theme but I used a lot of pink so it looks quite bright. And that’s the same with Peter’s work. It’s super graphic and funny but the things he are questioning are not like war and women’s rights.


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