Rachel Freire is a dark character whose work and edgy aesthetic definitely do not go unnoticed. With a wardrobe full of black she believes that shape and imagery are strong enough forms to not warrant colour; why add something that is not necessary? Intrigued by many things, all of her pieces have a story – preferring to proclaim herself as an artist as opposed to a fashion designer, and each story is individual but also perceptible to the viewer.
Are you trying to convey a message or meaning through your use of monochrome and gothic aesthetics?
The colour scheme I tend towards comes from the idea that the shapes and imagery are complex enough. I like that the colour tends towards neutral, be it shades of grey, skin tones or inky blacks. The underlying dark narrative occurs because there is an overwhelming presence of uplifting, bright imagery in our culture already. The darker side can be far more provocative and poses questions people often shy away from asking. Day to day I wear black, so in my first two collections I didn’t allow myself to use black, you know, as a balance.
You work is sculptural in essence, and figurative in nature, is there meaning behind these elements of your work?
All the pieces have a story. Whether it is intentional or not, my work evolves from whatever currently intrigues me. Sometimes this is more straightforward while others, more abstract. Given the way fashion is usually presented and digested I tend to leave these stories open for interpretation. Similarly to art and music, I prefer people to draw their own conclusions. I think good art gives the viewer a chance to decide for themselves.
How did you transform yourself from a performance and design student to a designer? Can you describe the transition phase from realisation to succession?
I started as an artist and studied theatre to gently transfer to design. I studied theatre to better understand the relationship between the viewer and the performer in a dynamic context. I often found myself in galleries wondering if I saw what the artist wanted to portray. I don’t want to read a complex statement to really appreciate a piece of work, but prefer a story which allows the viewer to follow a path and uncover it for themselves.
Are conceptual aspects integral to your work? If so, why and how?
Absolutely. For me, all the concepts, objects and experiences which can inspire design are integral to the design itself. Sometimes a collection can grow from a tangent inspired by a particular piece of tactile material. Making the decision to change direction and follow that inspiration can be the difference between success or failure. You have to trust your instincts and those instincts can’t be second guessed. That is what makes me a conceptual and bespoke label rather than a traditional one.
Do you explore any inner demons throughout your work?
Don’t we all? For example, I am not an overly feminine person, yet my work definitely has strong feminine elements. As I have been making collections my own image has softened. Maybe this has helped me find my more girly side.
What is your first creative memory?
Drawing Thundercats characters while watching TV! Then I graduated to She-Ra and Jem!
Nippleocalypse was a controversial project within which you received a lot of negative press – what is your reaction to such commentary?
It was interesting to be on the receiving end of such wide mainstream press. It really makes you understand the harsh reality of how little you can do to stop the snowball once it begins to roll. How stories proliferate in the press relies heavily on garnering as much interest as possible, no matter what the truth may be. With hindsight I would have been very strict in editing information. Seeing your words edited to the nuances of another’s opinion can be incredibly stressful! The whole project exploded so unexpectedly, but I would do it all over again but this time with a clearer voice and a watertight pr strategy. I stand by everything I did, though most people didn’t even hear the real story. That’s all you can really do.
What is it that you’re personally trying to express through your clothing in both your designs and every day dress?
I like the idea that there are no lines between utilitarian, practicality, decadence and the outright ridiculous. Things which seem impractical and crazy as we experiment with them today, may well become the staples of normality as technology and attitudes evolve. Clothing often keeps a clean and straightforward narrative. It makes it more accessible to more people, and most designers want their work to reach the maximum audience. I like that the narrative in my work is a little more jumbled. I love to see how other people wear and interpret my clothing, it inspires me all over again.