Taking place from the 31st of October until the 2nd of November, the Absolut Originality Exhibition combines the artistic efforts of fashion designer Danielle Romeril, visual artist Brian Kenny, illustrator Chrissie Abbott and film-maker Jamie Delaney. Curated by stylist Aisling Farinella, the event promises to draw visitors in, encouraging creative participation from all involved. Fresh from the unveiling of her Spring/Summer 2014 collection, we talk to Danielle about her very successful year and her involvement with the project.
How did you get involved in the Absolut project?
Well, Aisling (Farinella) would be quite familiar with my work. We’ve worked on other projects before so she asked me to get involved with this one and I was more than happy to. We were all given the Originality brief and my part is to translate that into an exciting, one-of-a-kind piece, in terms of clothing or fashion. It’s also important that I create something that can work in a dramatic sense and that it is receptive to image projection. There is a big emphasis on the interactive element of the project and making it come alive for the visitor. There’s a craftsmanship in how Absolut have gone about producing this one-off project and my work would be quite appropriate for that particular brief.
Tell us a little bit about the piece you’re producing for the project?
These are one-off pieces for Absolut. They’re something no one will have seen before. For the project, I’m working with plastics for the first time, using blue acetate. Each of the oblong shapes are hand-cut and laced together using a painted samurai armour technique which is used to lace solid structures to make them flexible. In this case we’re using it so that the material can move and flex with the body.
At first glance, they resemble pieces from your Autumn/Winter collection. Was it important for you to make a piece that is true to your own designs?
I suppose it does resemble pieces I have done, but I think that was important. Absolut wanted something that you could identify as a Danielle Romeril piece but also something that was completely new. It’s proven to be a new experience for me too; working with plastics was completely new. Usually I would have worked with leather, and the design we created for it was also new. Essentially we wanted to make it more sculptural and art-based. Using white and blue matches up to the brief of Absolut Originality and blue would be a colour that often features in my designs.
How do you feel about having other people’s designs and patterns projected onto your own creation?
I’m actually really excited about it! I’m not overly precious about my work, it’s like when somebody wears one of your pieces and styles it in their own way, you have to let go of these things. It becomes theirs then and it’s always nice to see someone else’s spin on it. It really makes it so much more interesting for the visitor which is what it’s all about.
It certainly puts an innovative spin on the whole project. How important is originality to your own brand?
I think it’s essential to what I do as a designer. I set up my business and run my own label because it can then be as abstract as I want. Your inspiration can spring from things as far-fetched as bubble wrap or sticky tape, or as unusual as a vodka bottle. You want to translate your interests and ideas into an actual product that can be worn. If I was doing this for the money then I would have opted to work for a big-name brand.
You spent time working with Alberta Ferretti in her studio in Italy, which I’m sure was a fantastic experience. What major designers influence your work?
Designers that would interest me and influence my work would include Cristobel Balenciaga, a genius! People like Rick Owens in his approach to three dimensional design work. Proenza Schouler are also brilliant. It’s often the case that you find different designers who press different buttons and encourage you in different ways.
You’ve had very successful year, with your designs featured in publications as diverse as InStyle and Hunger magazines and worn by blogger Susie Bubble and model booker Natalie Joos. Considering you’ve achieved this based in your Montague Street studio, would you encourage other designers to stay in Dublin?
Well I do also spend a lot of time in London, I lecture in the Royal College of Art so I would be over there a lot. And we recently showcased in Paris as well. I do think it’s important to travel to get experience of the real world. I would also say that if you’re setting up your own label, you have to be very careful of where you pitch it. I mean the Irish market is a lot smaller, in London you’re talking about a market of around 10 million. You have to be realistic. Go out, get the experience, learn on somebody else’s time, learn from the best, and then make the decision about where you want to live and how you want to work. They’re all individual-based decisions that you have to make yourself. I think our industry is only enriched by people leaving for a while and then coming back.
Having lived in both the UK and Italy, what was it about Dublin that made you come back and set up shop?
I noticed a difference definitely when I came back from Italy. It was post-Celtic Tiger, post-crash and the city absolutely felt different. There seems to be lots more happening in terms of creativity and it felt so refreshing. The compactness of the city makes it so convenient. I love how I can just hop on my bike and be in work in ten minutes. It makes it so easy to collaborate with people as well. I can just pick up the phone and say, “I do this, would you like to work on such and such with me?” I’m also working on a project with graffiti artist, Maser, at the moment so that’s another nice thing – that people are open to getting together and doing something. It seems like now people are a lot more open to helping each other out and I don’t think there was that sense at the height of the Celtic Tiger. People don’t expect payment now for absolutely everything.
Would you say that Irish people have a distinctive style? Would you have any particular wardrobe staples?
Well, I think that you can spot another Irish person when you’re abroad. But that might be down to skin-tone! I do think that Irish designers working abroad on an international level have a common thread running through their work. They tend to use a more muted colour palette and there is a definite emphasis on texture. You can see it in Simone and John Rocha and J.W. Anderson and I think they’re recurring themes with Irish designers. Personally, I don’t think I have a particular style. I’m more of a throw something on in the morning and run to the studio type person. We’ve recently done a different version of a t-shirt we showed in London, a basketball t-shirt, that I think is perfect for day-to-day wear and would wear a lot. But I don’t think I’d win any style awards!
I know it’s probably still early days, but have you any thoughts for your Autumn/Winter 2014 collection?
[Laughs] Well, I’ve looked at fabrics and have had some thoughts! There are definitely some sketches on paper. At the moment we’re working on production so we’re just getting clothes out for this season but next season is definitely in the pipeline!
Danielle’s designs can be bought online at www.avenue32.com or from Samui boutique in Cork. Absolut Originality runs from October 31st – November 2nd at Mabos Art Space, Hanover Quay. See www.absolutoriginality.ie for more.
