Interview: Baartmans and Siegel

September 19th, 2011

Baartmans and Siegel S/S 2012

Since their very recent graduation from London College of Fashion, Wouter Baartmans and Amber Siegel have skipped right to the top of the distribution chain, amassed an enormous amount of credibility and been one the most highly anticipated new menswear labels to emerge in the last two years. Their Spring/Summer 2012 collection, titled “Dust Drifters,” is a rare collection that invokes a true curiosity about the stories that have laced themselves into the fabrics that you see, the ideas that have been woven into the silhouettes before you, the expanse of reference that is the sum of its components.

The duo occupy that popular oxymoronic playground of modern-traditionalism, but so does everyone. However, Baartmans and Siegel entertain this tension between the modern and the traditional differently. They approach it with a narrative, thematic philosophy in mind. They combine their formative and conceptual experience at Viktor & Rolf, the wisdom of the British tradition of menswear enshrined on Savile Row, and their own unique interpretation of culture, cinema, and landscape to create highly visceral pieces that embody a potent and romantic, if somewhat atypical modern man.

For this collection they looked to the arid landscapes of the North African deserts and drew from this unforgiving terrain and the nomads who have learned it, the fabric for what they have coined, a “Menacing Masculinity.” They hold in high regard the pillars of the menswear tradition—impeccable fit, artisanal craftsmanship, and classic design—but transform it by way of innovative use of luxurious and tactile fabrics. Soft Irish linen, Breton stripes, lightweight organza and crème silk crepe evoke a novel masculine strength, while still representing the opulence of luxury.

In anticipation of their showing at London Fashion Week, we spoke with the two designers in detail about the momentum of the last two years, what drives their creativity and their reflections on their influences, controlled experimentation, and what is necessary in design.

The Block: It’s incredible that only one year after completing your degree you’ve garnered so much success. What do you think sets you apart from all the other burgeoning menswear labels?

Baartmans and Siegel: This year has been so quick, and also it feels like we have seen many moons whizz past. The concept of time is currently rather hard for us to grasp, as we are constantly working back and forth between the future collections and the current present.

One of the main aspects that give us strength is we as a duo; we really fuel each other to try and reach new heights daily. As a double act we are able to juggle more and also able to rotate all roles. Being so intertwined really creates a type of inward momentum, which drives our daily need for growth-individually, and together as a brand.

TB: In your opinion, what defines the zeitgeist of luxury menswear today?

BAS: Luxury and menswear have always had a more defined element, compared to womenswear. There is always an aspect of practicality present even in what seems to be the most frivolous or ostentatious ensemble. We are part of a new rise of brands, derived from the opulence and seductivity of iconic luxury labels, but then also combining this with accessibility and flexibility.

Product awareness for the menswear consumer is something that cannot be underestimated. Now, more than ever, men are becoming strong discerning customers, venturing out to new ground, seeking pieces that heighten their best attributes. Luxury remains aspirational to the majority, but now it is the acknowledgement of this desire, and the growing availability of elements of this that has come within grasp; it is a cumulative conscious pattern of consumerism that can be integrated into daily life. Visible research, education and consciousness then become an unconscious way of being. Today menswear demands touches of luxury and quality of craft, across demographics and subcultures.

TB: Tell us a little bit about your education, at London College of Fashion. What was your focus or concentration in the Menswear Fashion Design and Technology MA program?

BAS: Sometimes within a creative institute “commercial” can be viewed as a dirty word but this has always been in the forefront of our minds as designers. This balance of intelligent design and aesthetic appeal really is what we have always been drawn to and wish to project. Our studies funneled the avant-garde and then focused on creating garments that were expressive without being alienating. Studying in London is really fantastic training for menswear. It has the history and tradition of menswear, but also classic British creativity, which allows one to develop their own aesthetic—like learning a language and then creating a sub-language from this.

As a design duo, we differ from many of our counterparts. However, this has really allowed us to experiment further than we could have as individuals. For us, two heads are really better than one.

TB: What aesthetic influences and lessons about the industry did you take from your time at Viktor & Rolf?

BAS: Viktor & Rolf really was a golden moment in our lives. We were really surrounded by such a stimulating environment. As a design house, their aesthetic is rather more conceptual than what we subscribe to. In general we are more thematic as designers. Viktor & Rolf really showed us the process of evolution of an idea, and the importance of meticulous detail, beauty punctuated with practicality, the importance of strength of ideas, and the need for quality in craftsmanship. There is something about the Dutch culture that triggers a certain aesthetic, a certain approach to thinking and navigation. Creative, yet clear-controlled experimentation. This is a calming reassurance, which we try to hold as our spine and build from there.

TB: What do you each bring to the table in terms of your respective ideologies and methodologies toward fashion? What do you both feel is the teleological end or purpose of fashion, if any?

BAS: Well, we are at a point where sometimes it is hard to see where one person stops and the other begins. We have become a new type of creature; it is not always easy to separate our own identities. Essentially Wouter is driven by technical clarity, innovation and achievement. I [Amber Siegel] too care a great deal about these elements, but I would say that I am also slightly more seduced by an initial surface aesthetic. I then concentrate on syncing an orchestra of elements in each garment to create a piece that really resonates with an individual.

Fashion needs to perform on three levels for us: innovation, craft/construction and lure/indulgence. All of our items are made to heighten the best aspects of the wearer—internally and externally.  Fashion is not actually an escape for us; we believe that it is a reality that can be digested. It is luxury on a daily level, which compliments the ever-changing landscape of ones life.

TB: Does the humour and irreverence associated with much of Dutch design culture permeate your ideas?

BAS: Well, it is diluted considering we are Dutch/English-American. We tend to capture an element of the Dutch design methodology, but we tend to have a more general European influence, and a global outlook.

TB: We are very fascinated by what the two of you have described as a “menacing masculinity” in your clothing. What do you mean by that? What commentary do you want your clothing to have on the notion of masculinity in general?

BAS: As our collections tend to have a cinematic influence, our collections and garments tend to conjure a strong male, often with a dark confidence. “Menacing Masculinity” while heavy, is meant more in the sense of an essence that will haunt you. Once affected by our garment and aesthetic, the man becomes a character of effortless panache, and this becomes an addictive need, an aspect that haunts the consciousness.

TB: You have, in past collections, chosen such narratives as Blade Runner and 20,000 Leagues Under the Sea as inspiration for your collections. Why do these narratives fascinate you?

BAS: We are always drawn to strong narratives of popular culture—defined male characters, and, often, pivotal characters—that strive for progression. While we wish to pin beliefs, observations, comments, visions on or through our collections, we often respond best to characters that have initially tickled out stimulus and that we can translate and re-interoperate into a new generation, a new environment, and be adopted by new men. There is something appealing about fragmentation of a character and then a reformation of this by many individuals, unconsciously contributing to this initial inspiration of man.

TB: Will Baartmans and Siegel ever delve into the world of womenswear?

BAS: This is a question that many ask us… I think it is something that we dance around. We have spent so long focusing on a male aesthetic and mind, but it is something that in the future we would like to expand. Many elements of our collections would currently be so easy to convert, and in fact often many women buy our menswear clothes in the small sizes. Essentially at the core of all of our collections we focus on sumptuous and tactile fabrics, quality of craftsmanship and heightened design. These are appealing aspects to both genders, a unisex language which one day hopefully all can enjoy.

TB: If you could pick one director, dead or alive, to make your first video lookbook, who would it be?

BAS: Michael Mann, definitely. He has a very intuitive skill for documenting and conjuring men. His films often have such a strong masculine edge and really show a transparent holistic 3D male. Often these men are inspirational while intimidating, vulnerable yet corrupt, effected yet removed—these layers are extremely evocative and conjure men with changing landscapes. We believe he could create a fantastic lookbook. We shall keep our fingers crossed.

Interview Jennifer Chiu