When you hear the name Roland Mouret, what do you think of?
It's the dress, isn't it?
The dress, 'that' dress, is the Galaxy dress; now in its tenth year, it took the fashion industry by storm when it went on sale in 2005 and became one of the most popular designs of the decade.
With it's clinched-in waist, square neckline and hour glass silhouette, it epitomises all that is elegant and feminine – as, indeed, Roland Mouret womenswear is designed to do. Little wonder then that such figures as the Duchess of Cambridge and Theresa May, Victoria Beckham and Dita Von Teese have all worn his creations. His pieces are made to flatter across the board.
Here, we talk to Roland about where his passion for fashion began; about how women and men differ in their approach to clothes, and where the fashion industry is heading post-Brexit...
You were first drawn into fashion because you used to watch your father fold his butcher’s apron. Is that true?
Yes. From a young age, living in a village where I was the son of a butcher, I realised how much clothes can trap you in a situation. The outfit of a butcher is one of the better outfits, but the moment you wear it, you become the son of a butcher, and I didn’t want to become that person. The apron – that big piece of white cloth that falls around the waist and must look presentable in front of the customer – was the first ‘movement of fabric’ that I noticed. Rejecting what I was becoming [a butcher], allowed me to enter into what I'm doing now.
From there you did modelling and styling...
Yes. Before becoming a designer, it was really important for me to know the way the world of fashion worked. Because you have to understand. Now, a designer works with a full team around them, not just a stylist, but creative directors and bloggers... Not like in the 80s, where the designer was designing and styling himself. That’s over. Today, you need to have people to go through the process, to give a fresh eye to your work and push you – all the time – further.
It’s the 10th Anniversary of the Galaxy. What is the secret of its lasting appeal?
That dress has got the honesty and the magic of the female form. I think that’s why it’s always been a success. It’s universal, it’s the universal shape of a woman. It’s got that unity.
You designed it because you wanted something women would be able to wear a bra with. Is that right?
Yes. That’s the honesty of a woman; they wear bras, models don’t.
I read you’ve never had a muse because you don’t want to confine your designs to just suiting one body type...
When I was a stylist, you take a muse for a photoshoot, that’s one thing. But when it’s about your career as a long term journey, you can’t have just one person in mind and decide that she’s going to represent what all your customers are going to go through. No.
You've said in the past you design clothes, not fashion...
Some people design clothes and some people design fashion. I design clothes. You have to be really honest with what are you doing. I think my designs are quite unique, and that’s how I can compete in the fashion world.
Is it true your dresses are designed to be 'undressed' as well?
Yes. Clothes are like food; a good dinner by yourself is just a good dinner, a good dinner with someone you love, or someone you really appreciate, is a memory. It’s something that comes back in your head, with good stories. I think clothes are the same. When you share them with your partner, you have stories in them – and that’s what's brilliant about them. If you think about it, you never throw anything away that has memories.
You've designed menswear in the past. Do men approach fashion in a different way to women?
Yes, with menswear I take a different approach, completely different. I don’t have the same pattern, it’s different brain-pattern with woman. Women are more shy with fashion. Women have no problem being taught and absorbing it and doing what they want with it. Men will not allow themselves to be taught. They have to show you that they know what they want already. And if you trap them in a corner, proving that they’re wrong, you lose them.
You've done many interesting things in your career. Modelling, styling, designing. How has that contributed to your enjoyment of working life?
That’s why I never really need a shrink! I can design clothes because I bring a certain sense of honesty to the person I dress. I don’t try to change them but I allow them to play with different sides of themselves – like the actress, the icon. It's quite nice because we all have those characters inside of us that come and go. I like the actress inside a woman.
Our new prime minister, Theresa May, has worn your designs. What – if anything – does that mean to you?
As I said, clothes allow a person to play the character they want to play. You want to be honest, but in the public eye – be it an actress, singer or politician – you have to play a role. I'm so lucky I can hide behind my clothes, my clothes are more famous than me. But when it's about you and just you, you have to use clothes as a tool to help you pass on a message.
What clothes do you wear?
I’ve been lucky, because by doing menswear I make my suits. Most of my shirts are mine too, because I like the thread. Other than that, it’s a mix of brands, like Ethos and acne. I like easy going brands that you can live in. That said, I do love going to Greece and buying all the kinds of the thin cotton shirts from the markets there. I come from the countryside – I have that double personality of country and city.
What impact do you think the UK leaving the European Union will have on the fashion industry?
It’s a bit early to talk about it, but it’s a challenging subject. Like in the case of a divorce I think we should be amicable and strong at the same time. The reality will be how the market reacts – different exchange rates, if there is taxation, and whether people can stay in this country.
We have an amazing production system in England and whilst it's not the biggest, it's something that runs really well for young designers. And if that is protected, in the context of Brexit, I think we will be successful. I was not for Brexit, but now we’re in it, we have to go with it. We have to be clever and challenging. Yesterday is the past and we have to live in the present now.
Roland Mouret is Robert Clergerie’s Creative Director and is judging the Instagram competition #ClergerieGirls
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