Models pose with lips puckered at fashion designer backstage
Models pose with lips puckered at fashion designer backstage

Mary Katrantzou (second from left) backstage at the 2018 Victoria’s Secret Fashion Show in New York

With a decade of successful collections behind her and a penchant for outside-the-box collaborations, Mary Katrantzou is a designer not only bursting with creativity but also with the business acumen to go truly global, as Carolyn Asome discovers

Don’t underestimate the agility required to keep up with Mary Katrantzou’s boundless curiosity, the ever-inventive ways she pushes herself out of her comfort zone, the rat-a-tat-tat of her myriad collaborations (more of which later) and fundamentally, her desire to never sit still.

Does Katrantzou, who for the past decade has wowed us with her own strand of quirky maximalism, breathtaking decoration techniques and architectural shapes, ever worry that her body may struggle to keep up with her mind? The Greek-born fashion designer (and veritable power house), who read architecture at the Rhode Island School of Design before studying for a BA in Textile Design at London’s Central Saint Martins, howls with laughter at this. “It’s true, I’ve turned 36… it probably doesn’t.”

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Few designers are able to confront the obstacles of growing their own business. Fewer still are able to articulate them quite as clearly as Katrantzou can – although one senses that she has always relished the challenge. Her voice lights up: “Growing your business is the ultimate in creativity. It forces you to have an understanding of the business of fashion. I don’t think you can have a company without that interest or without the ambition to be involved.”

In an increasingly volatile retail climate, what are the challenges she faces? “There are several, but one of them is having a voice that really stands out against the noise. There are lots of heritage brands with a rotation of designers at the helm. You need to really know what you stand for. I challenge myself to do that each year. You might think you have an idea of who your woman is, but it isn’t always as easy as you think it is. I am not designing for a romantic warrior…” she laughs. “Sure, she is bold and daring and she uses fashion as a tool of expression. What I design has an element of uplift, but it also has links to art and design – that is very much part of it, too.”

Model on the catwalk wearing a large multicoloured coat

A look from Mary Katrantzou’s AW19 collection

The conundrum of dealing with an ever- whizzier hamster wheel of production also looms large. Thankfully, Katrantzou explains this is far less of a taboo subject than it was in the past. “Three years ago, no one wanted to talk about it and you almost closed your eyes and hoped for the best, but now other designers talk and you realise we are all in the same boat. Because obviously it is going to affect your creativity.”

Her solution? “While we have four drops annually, there are only two thematic collections a year so that means we have longer to talk about something, but we still have the newness.” Another challenge she mulls over is how to move outside ready-to-wear and use her design talent in other areas. Given that Katrantzou trained as an architect, she enjoys the challenge of looking at things from different perspectives and the creativity that comes with designing in different realms.

“We’ve tried to shift the brands in both directions: at one end offering shows at a demi- couture level and building on our customer relationships so that they can buy from us as made-to-measure or bespoke, but also, to do collaborations with much bigger global brands which allows us to reach a far wider audience.”

Read more: Photographer Thomas Demand on abstract perspectives

Katrantzou enjoys the fact that collaborations force her to think in a completely different way. “It’s an entirely different end use of a product. You can be democratic in a way that as an independent brand you just can’t be, because you can’t reach those price points or your minimums and production runs are so different. The modern brand of today needs to be reaching out to all different price points and different tiers. You are communicating with your customer but offering her a very comprehensive way of being able to buy your brand. We are doing a tenth of what we can do as we are still largely a ready-to-wear brand, but we’ve created jewellery with Swarovski, and done a small homeware range with a friend, Brigitta Spinocchia Freund. We’re also doing a ballet at Sadler’s Wells with Russell Maliphant and music by Vangelis, which is obviously so different from what you get when creating the costumes for the Victoria’s Secret show.”

The designer’s interesting collaborations – ones which challenge the well-trodden formula of designer/highstreet unions – are what caught the eye of Chinese investor Wendy Yu, the 28-year-old who has earned herself the reputation as China’s unofficial fashion ambassador.

Two women posing in front of a green wall at an exclusive event

Mary Katrantzou with Wendy Yu 2017

Two years ago, Katrantzou took investment from Yu. “I’d noticed and loved Mary’s capacity and talent to expand into different product categories along with her infectious energy and drive,” says Yu. “She’s built a brand with a strong and unique identity. I can see the potential of Mary Katrantzou homeware and beauty… I think the Chinese consumer would really buy into the brand at this lifestyle level too.”

Yu was one of three who came in on a ‘family and friends’ round of investment. For Katrantzou, the idea was also to look at what investors could offer aside from the financial support. “Wendy has been helpful with expanding in China. She is someone who understands how to help build a brand between east and west, between fashion and the arts.” Katrantzou has also learnt that in order to create awareness in China, it takes much more than just visiting once a year. It’s visiting regularly and initiating activations that really engages.”

Despite following a wholesale model, Katrantzou finds that clients come to her, season after season. “It’s rare these days to have a really loyal client. I don’t know what it is about the brand that elicits that loyalty but whatever it is, I don’t take it lightly.” This modesty is typical of Katrantzou. Such is her talent that she has clients who own so many of her clothes, they might easily stage a retrospective of her collections. It is telling that one of her most devoted fans is also one of the biggest collectors of Phoebe Philo’s collections at Celine – “our aesthetics couldn’t be more opposite” – and yet, there is something about the power of Katrantzou’s craft, the detailing and point of view that elicits such fandom.

Women pose backstage in front of a rail of clothing

Katrantzou and friends at London Fashion Week, 2016

Last September, Katrantzou celebrated her tenth anniversary, filling Camden’s Roundhouse with a collection all about collecting and collectables. Instead of a ‘best of ’ tribute to the preceding decade, she riffed on philately and entomology. One gown resembled a Fabergé egg gleaming with crystals, while a bustier dress revealed an array of coloured stone rings within a jewellery box.

Read more: Why LUX loves the New Perlée creations by Van Cleef & Arpels

Her most recent collection was based on the elements – earth, air, fire and water – and how they exist within us. “I wanted to explore the fire – when you have that energy and passion; or air when you feel that sense of being light and free. And it was interesting to distil all of that into a collection as it was so abstract and unlike my previous collection, which was more literal and very object driven.”

Model on catwalk wearing large orange coat

A look from Mary Katrantzou’s AW19 collection

For water and air, Katrantzou explored silhouettes that were weightless, either in organza or tiers of ruffles, which “bounced in a cloudy way, or else we used feathers”, experimenting with materials and techniques that haven’t been explored before.

Today, there are 25 people in Katrantzou’s London studio and her label is sold in 50 countries. “Our strongest markets are in the US, the UK, southern Europe, the Middle East and now China,” she says. “You know you appeal to a certain type of woman, and while I’m not saying an archetypal woman, they do have something in common. And we don’t have to be big in the Nordic countries if we are not selling there.”

Increasingly, Katrantzou is thinking about how she fits into the world around her: what she stands for and how that extends to bigger topics. “Luxury for me is knowing you are not harming your environment, knowing that the pieces you create will last in someone’s wardrobe for ever. I find it interesting that clients increasingly come to me and say they want to spend x amount on this one dress rather than buy 20. There’s a return to craftsmanship, pieces that are made by hand. With demi-couture, you are supporting a more analogue approach to fashion. It isn’t a big percentage in terms of how many commissions we get, but it is a sizeable part of the business… and it’s growing.”

Find out more at: marykatrantzou.com

This article was originally published in the Summer 19 Issue.

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Two young ballet dancers leaping in unison
In the rehearsal ballet studio with children dancers

LCB’s anniversary show of ‘Ballet Shoes’ will take place this summer at the Peacock Theatre, London.

This year, London Children’s Ballet is celebrating their 25th anniversary with a summer production of Ballet Shoes. LUX gets a sneak peak inside the rehearsal room

Photography by Tina Frances Photography

The ballet world is notoriously cut-throat. To make it to the top you’ve got to start young and have the “correct” physical proportions, which traditionally means trim shoulders, long legs and the “right” feet. Lucille Briance’s ballet-mad daughter was turned away because of her feet and knees. Her response was to set up London Children’s Ballet, a charitable ballet school which does not discriminate on grounds of height, shape or income; the children are judged solely on their ability. Despite the charity’s name, children (aged between nine and sixteen) from anywhere in the country may audition to join the troop.

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This year the charity is celebrating their 25th anniversary with an adaptation of Noel Streatfeild’s novel Ballet Shoes featuring original choreography by Ruth Brill.

LCB’s production of ‘Ballet Shoes’ will to be performed at The Peacock Theatre from 4 to 7 July 2019. For more information visit: londonchildrensballet.com.

Young ballet dancers in rehearsal for a production

Two young ballet dancers leaping in unison

A child male and female dancer in the rehearsal studio

A young female ballet dancer in rehearsal

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stylish contemporary interiors of a lounge space with orange chairs, big glass windows and wooden detailing
stylish contemporary interiors of a lounge space with orange chairs, big glass windows and wooden detailing

Spring Place New York: members-only collaborative workspace and social club

Co-working spaces are already well integrated into our urban landscapes. Companies like WeWork provide communal offices for start-ups and self-employed workers whilst the likes of Soho House invite members to use their residences for wining, dining and the occasional signing of a multi-million deal. Spring, however, aims to marry the two by offering physical studio spaces to rent and membership to a network of high profile brands and individuals. LUX Editor-in-Chief Darius Sanai speaks to the co-founder and CEO Francesco Costa about his vision
Colour portrait of founder of Spring Studios Francesco Costa wearing a black blazer and a blue shirt, smiling

Francesco Costa

LUX: Can you tell us about the concept of Spring?
Francesco Costa: I see Spring as a brand and an experienced company. It’s a brand that helps other brands and individuals in the luxury and aspirational industries to grow their businesses. We work with already established brands and freelance individuals, and it is the connection between these more established brands, emerging brands, talented young people and established talents that creates a unique environment.

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We now do creative agency production, post production and digital; we have studios, we have event spaces, we have co-work spaces and all of this together means that our clients or members or even our shareholders see us not as transaction opportunity, but as a long term opportunity. We are building a community and as a member of that community you are entitled to certain benefits. For example, we did an Estee Lauder campaign with Misty Copeland, the first African American Female Principal Dancer with ABT (American Ballet Theatre) and then we started working with ABT, and now we are the agency for ABT. We create certain content for them and some programming and then through us ABT got in touch with other brands that they want to sponsor ABT, and that creates further opportunities. That’s how this ecosystem works. Of course, the physical space has a key role because a lot of co-brands are trying to complete this without the investment – by that I mean not just a financial investment but an investment in time and the effort of finding a physical space – and it’s very difficult to do without having a physical hub in New York, Los Angeles, Paris, London, Milan where people can actually meet, where people can create opportunities. I think it is impossible to achieve what we are trying to achieve now.

Contemporary co working space with shared tables and woman working on laptop

An example of Spring’s stylish co-working space at Spring Place New York

LUX: When you started Spring, was the intention always to go in this direction? Or did it start more as a studio space that companies could use?
Francesco Costa: It’s interesting because everything started as a real estate investment in New York. Myself and Alessandro Cajrati, my business partner, had the idea to create a studio event space, a hub for fashion. Our partner was Jimmy Moffat, the creator of Art and Commerce, let’s say he was our expert in the field. And then we discovered this company in London called Spring Studios (founded in the late ’90s strictly as a studio space), which we thought could be a good partner – they approached us and we liked their vision.

Read more: 6 Questions with world record-breaking sailor Giovanni Soldini

colourful contemporary interiors with pink arm chair, patterned pink wall and an electric guitar

The music room at Spring Place NY

Robin Derrick had just joined and Robin’s vision was to create content for companies that were functioning in the digital space. Then at a certain point, when the project in New York was growing, we saw that there was a synergy in what we were doing so we merged the two companies (the American investors remain the majority investors). That’s how Spring Studios as we now know it started.

Then a bit later, approximately two and a half years ago, there was a co-worker revolution which attracted a lot of attention – it became a kind of trend – and I thought it was interesting to give a physical space to the fashion community. The fashion community, but also the art community and other communities involved in the business of culture, tend to travel a lot and have a lot of social interactions. Frieze is a good example, or events or fashion shows or dinners that fashion brands put on, but there was no place where you could meet more professionally and during the daytime so I thought that there was a need for this kind of space, a place where CEOs or the head of communications can connect and collaborate with other brands and individuals.

Open plan industrial style dining room with exposed ceiling and square wooden tables

The main dining room at Spring Place NY where professionals can meet and socialise

LUX: How does your business model work? How do you benefit from the collaborations?
Francesco Costa: There two things that I get out of it: one is the attachment to the brand, to the physical space. The co-brand has an advantage working with Spring or being at Spring which brings them closer to us. The second is on the offer and the pricing. For example, we have showrooms that we rent for 2000/3000 dollars a day and we don’t rent for 2000/3000 a day because the real estate is better that the real estate next door which rent for 1000 a day, we rent it at that cost because the odds are that a journalist or a CEO or a famous blogger walks by, sees the product and thinks that it’s worth talking about or engaging with. I actually have a recent example of this. A very small, new shoe brand run by two young women with limited capital, launched their product in one of our showrooms and a buyer for one of the biggest retails was in the space for another meeting at that time. He saw the product, loved it and they signed a multi-million contract. This is what we offer, and this is what I mean about the benefits the community can provide.

Stylish industrial style bar with leather stools, exposed ceiling and bar tended preparing drinks

Travelling professionals and members of Spring can also make use of the bar area to meet with friends or relax

LUX: Finally, can you tell us a little bit about the brands that work with you and the kinds of projects you might work on together?
Francesco Costa: Of course – Estee Lauder might shoot a campaign in the studio, but that’s just the start. If we talk about our clients for whom we do the production, we have Tom Ford, Marc Jacobs, L’Oreal to name a few. We do their campaigns. Then we have a whole other set of partners or clients for whom we run events. For example, we work with Universal Music, we did the Grammy’s week in January, New York Fashion week twice a year, Tribeca Film Festival, the list goes on.

To learn more about Spring’s studios and events visit: springstudios.com

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Reading time: 5 min