Anna Vescovi

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer Anna Vescovi ("AV") for their original perspective and innovative approach to design as well as their creative lifestyle, we are very pleased to share our interview with our distinguished readers.

DL: Could you please tell us a bit about your design background and education?

AV : In my fifteen year career as a professional ballet dancer, I had the privilege of traveling the world, soaking in the experiences of new cultures, lifestyles and facets of design. When dancing at Miami City Ballet, Art Basel had come to town around the same time as the commencement of the theater season. I had 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 interiors, furniture and cutting-edge textiles; an element of design I had never thought much of before such exposure. It was shortly after my time in Copenhagen that I decided to pursue my creative education at the Savannah College of Art & Design for textile studies.

DL: What motivates you to design in general, why did you become a designer?

AV : For my entire childhood, ballet was the way of which I expressed myself; being creative was a significant part of that process. As I reached a professional level, instructors and directors’ greatest emphasis for their dancers to blend in. Classical choreography is based on the notion that the corps de ballet should look and dance identically so as to not distract from the aesthetics of the stage. All aspects of diversity in ballet are practically non-existent to this very day. As I compensated my passion to achieve the antiquated standards of the industry, the joy of dance had dissipated. The world of design thrives off of diversity and multi-faceted representations where creatives are accepted and celebrated for their contributions. The timing seemed ideal to embark on a new career path; I feel very grateful that the stars aligned in such a way.

DL: What do you design, what type of designs do you wish to design more of?

AV : Although originally a CAD designer, there is something so special about the tactility of material design. Following our time in quarantine, SCAD's fibers department did their best to find alternative solutions for textile production from home. It was no easy feat for both students and professors who thrive on the studies of tactile development. This collection of garments was imagined during our time in lockdown, then further executed once lab facilities were made available to the public. The joinery process felt like baby steps in regaining the intellectual connection between physical touch and cerebral cognition. I look forward to working toward further joinery collections with uncharted properties and techniques.

DL: What should young designers do to become a design legend like you?

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.

DL: What distinguishes between a good designer and a great designer?

AV : Soul, emotion and passion make for a successful designer. The greatest artists and designers in history are known for unapologetically pouring personal identity into their creative endeavors.

DL: What makes a good design a really good design, how do you evaluate good design?

AV : Innovation is an integral aspect of what one may consider successful design. There are a lot of designs in existence with great aesthetic standards, but the intentions behind a educated and deliberate decisions make all the difference. How does your proposed creation interact with the world? Can it make an impact on societal needs?

DL: What is the value of good design? Why should everyone invest in good design?

AV : As mentioned above, good design is thoughtful in objective; working to benefit a particular consumer market who experience frustrations with preexisting designs or inventions. 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.

DL: What would you design and who would you design for if you had the time?

AV : Designing a piece for the American Met Gala would be an exciting endeavor of the highest caliber. Although the looks are dependent on the chosen annual theme, or at least intended to be, I believe a sleek joinery garment would be a show stopping alternative to the poufy gowns, ruffles and frills. Depending on Ms. Wintour's decided category, I have some wonderful ideas for Anya Taylor Joy, Jasmine Tookes, Cara Delevingne and Kerby Jean-Raymond

DL: What is your secret recipe of success in design, what is your secret ingredient?

AV : The secret to successful design is a positive outlook and balanced lifestyle! When I sideline these principles through my own practices, I often lose enthusiasm, energy and motivation in the early stages of ideation. This has negative long term effects on our creative mindset and can lead to more serious metal habits like self doubt and shattered confidence. The catalyst of a great designer stems from a healthy heart and clear moral conscience.

DL: Who are some other design masters and legends you get inspired from?

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. Just as Rabanne contributed his knowledge of architecture to dress-making, I come from a place of physical awareness, knowledge of kinetics and heightened sense of the physical form as it relates to psychology. Rabanne’s creative investigations with joinery are exceedingly vast; leather, metal scraps, lozenges 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.

DL: What is your greatest design, which aspects of that design makes you think it is great?

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.

DL: How could people improve themselves to be better designers, what did you do?

AV : As a textile designer, 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."

DL: If you hadn’t become a designer, what would you have done?

AV : If I hadn't discovered design, there's a possibility I could have continued with my ballet career. My creative endeavors are where I've transformed into the most well-versed, enthusiastic version of myself; imagining an alternative livelihood would feel disingenuous.

DL: Who helped you to reach these heights, who was your biggest supporter?

AV : I’ll begin by acknowledging my family; my wonderful parents, grandparents, aunts and uncles who have encouraged me to pursue my passions, for a second time, in these creative endeavors. I recognise what a privilege it is to receive endless love and support through the ebbs and flows of this sentimental journey. I further extend gratitude to my fibers family who have cheered me on, provided unconditional friendship in the midst of university’s most sentimental moments. I extend tremendous appreciation towards SCAD’s fibers faculty; the kindest maternal figures who have played a role as both educators and supporters in times of uncertainty and celebrated success. Finally, I thank the Savannah College of Art and Design for encouraging such a vibrant life beyond ballet studio mirrors. I am so grateful for the efforts, resources and care which are enthusiastically poured into the preparation of our future careers, wherever that may be.

DL: What helped you to become a great designer?

AV : 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.

DL: What were the obstacles you faced before becoming a design master?

AV : There have been several hardships along this incredible journey of design. As a "late bloomer" in the world of 2D and 3D art forms, I felt a degree of pressure to decide my which department would be best suited for a degree. In SCAD's freshman foundations courses, we are exposed to basic drawing skills, color theory and design philosophy courses to guide our interests in a particular direction. Most of my colleagues had arrived with a clear destination in mind; i felt behind before I'd even began.

DL: What’s your next design project, what should we expect from you in future?

AV : Although I maintain relative discretion in upcoming design plans, I can joyfully share that the new collection will experiment with joinery through eco-conscious initiatives as well as cosmetic facets of draping, unconventional pattern making, light play and grand scale.

DL: What’s your ultimate goal as a designer?

AV : There are endless possibilities of what the next big chapter could hold! One of the greatest gifts of being a creative individual is our open heart and inquisitive mindset. I feel very fortunate to have had an incredible academic support system from peers, mentors and faculty who encouraged endless imagination. Although I'll be transitioning from student to professional, I look forward to carrying the knowledge, connections and eager momentum of my studies into the next passage of this creative journey. What's next for this collection of garments? I will certainly be creating more looks; ambitiously pushing new ideas farther than ever before. I'd love to work alongside the atelier team for Paco Rabanne as a chef de produit maille et mesh. I have also entertained the possibility of creating my own label to produce and sell more unconventional ready-to-wear garments.

DL: How does design help create a better society?

AV : I'll use the achievements of Savannah College of Art and Design as a prime example to this question. With students from over 100 countries and all 50 US states, the small city of Savannah has exhibited a wonderful surge of artistic development and cultural enrichment. Community collaboration between design students and faculty has provided enlightening experiences which contribute to the city's abundant lifestyle, improving the Savannah's financial and social conditions.

DL: Which design projects gave you the most satisfaction, why?

AV : The most satisfying projects are those which I originally doubt. My Chrysalis garment remains a prime example. At the time, it was the most ambitious garment I’d imagined with nearly 3,000 laser cut roundels and 4,500 silver jump rings. The deadline offered a short window of production and therefore needed to be executed flawlessly with minimal setbacks and unwavering technical precision. Reflecting back on that deciding moment, I'm grateful I'd accepted this challenge. Upon completion of Chrysalis, its composition remains one of my strongest, most celebrated works to date.

DL: What would you like to see changed in design industry in the coming years?

AV : As a textile designer, I’ve had the privilege of experiencing the intricate processes of fabric production from digital screen to fabricated seam. The collective industry is beginning to see a variety of designers gravitating towards second-hand materials, technological advancements, bio-engineered textiles and scientific developments in effort to provide ethical alternatives for high fashion and ready-to-wear application. To be successful in these endeavors, both consumers and designers must practice patience; to be patient in sourcing, patient in practice and patient in profit. Through our humanitarian crisis, we continue to see cutting edge ideas and forward thinking efforts. Couturier Iris van Herpen’s Roots of Rebirth collection was developed from plastic debris fished from the sea in an bio-collaboration with Parley Ocean Plastic. Meanwhile, British-born ready-to-wear designer Miriam Al Sibai has been devoted to applying vegan Pinatex pineapple leather as an ethical alternative in her chic outerwear. The marriage of unbridled curiosity and cutting-edge development delivers new possibilities for the industry; it is exciting to contribute to this groundbreaking moment in fashion history and to evolve with such exciting progress.

DL: Where do you think the design field is headed next?

AV : There is an undeniable sense of urgency surrounding the ethics of fashion. Lidewij​​ Edelkoort has composed a declarative manifesto which is an excellent example of industry accountability. In recognising our former missteps, the collective industry can better advance planetary and humanitarian morals. The revolutionization of design begins at the core of empathy and at the helm of divergent thinking!

DL: How long does it take you to finalize a design project?

AV : Speaking on behalf of individual garments, each design varies through factors relative to garment scale, size of the laser cut pieces, intricacy of the assembled pattern and external factors such as postal shipping and handling. I work alone as an independent designer so the complex process from start to finish is created with one mind, two hands and a great deal of patience. It's important to note that the count of laser cut pieces could range from 500 to over one thousand, all intricately hand-assembled with miniature jump rings. When the stars align and the complete process operates without tribulation, which is seldom the case, a single garment could take as little as one week. Larger designs which require more sample testing and material development could take slightly over one month from ideation through to completion.

DL: When you have a new design project, where do you start?

AV : Extensive research is imperative in the early stages of ideation. I often look towards fashion week’s international runway shows, interior design publications and social media influencers across all facets of design. Attending new museum exhibits, gallery showings and social events can be a great indication of the market direction. Historical research is also beneficial in understanding the notion behind a recurring trend. I don't swear by trend-heavy approaches in my design decisions but find these habits valuable in understanding the impulsive psychological concept surrounding our culture’s climate. When illustrating fashion flats for a collection, I'll often grab tidbits of information from said research to selectively apply what I believe to be the most enduring elements of artistic resolution.

DL: What is your life motto as a designer?

AV : I always encourage myself to have fun! What good is creativity if you don’t enjoy your endeavors? When an artist or creative relishes in their project, that same joy is translated into the final product which sparks interest in consumers and design enthusiasts. It’s as simple as that.

DL: Do you think design sets the trends or trends set the designs?

AV : This is a great question. When the most preliminary designs originated thousands of years ago, creation revolved around the offerings of nature. Through design development into the present age, creating came first out of necessity. In the modern day production process, each designer, manufacturer and engineer has looked towards past ideas to influence forward thinking concepts. Here we have the creation of trends; revisiting history to inspire direction of the future.

DL: What is the role of technology when you design?

AV : Technology plays a crucial role in my collection design process. Much of the software I employ works to create the individual shapes which formulate the joinery material of the garment. When I first began experimenting with joinery, I tried several unique surfaces with acrylic properties serving as the best possible solution. Once selecting the acrylic type, the Adobe Suite is used to ideate, sketch and comprise digital elements of the individual joinery shapes. Those files are converted into applications for the digital lab to which laser cut elements for garment materialization are produced. This process varies on the garment pattern; longer, more intricate garments acquire upwards of 3,000 acrylic shapes, while others could average around a third of said amount. After the pieces are returned from the lab, the process is far more elementary, requiring jewelry pliers and a few thousand jump rings. Alas, the joinery process begins.

DL: What is the role of the color, materials and ambient in design?

AV : Color and material play a crucial role as it relates to the sale of most designer products. It's important to accept that many consumers, specifically in the world of fashion, are unaware of the tedious development, details and processes which are employed to create the garments they know and love. Designers carry tremendous responsibility in thoughtfully executing each detail of a new work, all while keeping trends, the customer market and personal aesthetic standards in intentional consideration. Our decisions set the pace of the industry; each design commitment carries significant weight. Color, fit and material have always remained the tip of the iceberg supported by concealed yet salient decisions to arrive at a finalized marketable product.

DL: When you see a new great design or product what comes into your mind?

AV : I am a very technical thinker with an observant mindset. When I spot a great design, my first question remains "how," quickly followed by "who" and "why." Textiles are very interactive; through the habits of feeling and observing, any fibers designer could likely postulate the list of relative details regarding said material such as technique, fibre and orientation. Uncharted facets of design such as product design, the processes behind certain fashion collections and accessory design bare more intricate processes and therefore spark an extensive list of questions.

DL: Who is your ideal design partner? Do you believe in co-design?

AV : An ideal design partner is someone who remains excited about the uncharted possibilities within unconventional design. They work diligently with a profound sense of meticulous detail. This individual would enthusiastically adapt to the multi-faceted skills and techniques within my practices. They would be strongly encouraged to share their personal ideas and unique approaches regarding design-oriented scenarios.

DL: How did you develop your skills as a master designer?

AV : Practice, practice, practice! In my days of ballet training, dancers were obliged to rehearse the same steps, techniques and choreography repeatedly to master our skills before performing for an audience. This same routine has followed my design initiatives which has enforced valuable habits of time management, attention to detail and skilled craftsmanship.

DL: How do you feel about all the awards and recognition you had, is it hard to be famous?

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 winner. It is a significant honor to be celebrated amongst a community of esteemed creatives.

DL: Please tell us a little memoir, a funny thing you had experienced as a designer?

AV : Mistakes are a huge part of learning, something the our industry should be more understanding of in young interns or traineeships. My first internship took place at a small company called Moglea which operates as an artisanal stationery company in the heart of the midwest. As a production design assistant, I was asked to complete an order of very time-consuming hand-painted clocks for their third party partner, West Elm. I felt very honored to have been provided this responsibility and began tracing the design outlines with the templates for painting. It took a complete week to paint and assemble the batch; the assigned turnaround time was narrow, we worked quickly to complete the order. As the team began packaging the clocks, we froze. I had used the template upside down and the entire design was mirrored backwards! At the end of the internship, they gifted me one of the clocks as a little souvenir. I have it hanging in my studio which is a very humbling reminder of one of my most embarrassing mistakes of my career.

DL: What makes your day great as a designer, how do you motivate yourself?

AV : I don't necessarily consider my creative endeavors as "work" but more as a time for play with a side of responsibility. It is incredibly fulfilling to fuel expressive capabilities; I am grateful to pursue my passion as part of everyday life.

DL: When you were a little child, was it obvious that you would become a great designer?

AV : My knack for creativity was always apparent, but more so through realms of 4D practices such as dance and performance arts. Between elementary studies and high school, creativity outside of the ballet studio never garnered my attention; the grueling years of ballet training had certainly enforced a degree of tunnel vision. It wasn't until my time in Miami as a late teen that I had rekindled an appreciation for color and surface. Art Basel was larger than life and simply couldn’t be ignored! I felt like a child again, inspired by new creative prospects which catapulted my interests towards a vibrant new creative career. Each day, I embody that same “kid in a candy store” mindset, so it seems that my curiosity has come full circle.

DL: Please tell us anything you wish your fans to know about you, your design and anything else?

AV : I can be contacted formally through LinkedIn or the website contact form at AnnaVescoviDesign.com. For more casual requests, my social media direct message platforms are always available.