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(c) Lisa Edi

Seizing the current situation as a source of opportunity and inspiration

Viennese fashion label FATEEVA reinterprets the term ‘essentials’ for womenswear and menswear by skilfully combining the avant-garde with the everyday. Uniting these conflicting priorities allows FATEEVA to create honest, unobtrusive designs for customers who value excellent craftsmanship and practical, timeless design. True to its mission statement of “making luxury accessible, reducing wasteful use of resources and embracing exquisite design”, FATEEVA does not present its collections in seasonal cycles and instead bases its releases on the availability of premium dead stock materials such as leather and other materials.


How has the coronavirus pandemic and the resulting restrictions affected your work?

Well, with almost all international production chains having come to a standstill, so too has the work to plan and develop my collections. Above all, it has given me time to step on the brakes and consider how I should move forward in future.

What has been the biggest challenge for your label?

I always see restrictions and new situations as opportunities and inspiration for new approaches and solutions rather than as challenges. I started in 2017 with shoes and a classic B2B distribution chain; I made some mistakes and I’ve learned from them. Since 2019, I’ve been working a lot with upcycling in Italy – and since March 2020 I’ve been making products myself in my studio in Vienna. After the initial shock of the international crisis, I’ve found a new process that places the focus on craftsmanship and slow fashion, which to me feels both contemporary and authentic.

And what do these uncertain times mean for the fashion industry overall?

To be honest, I see the changes as being broadly positive. If everything had not come to such an abrupt standstill, I don’t think the industry would ever have taken the time to reflect as a whole on what is working and what isn’t. The industry is trapped in a maelstrom, being swept from collection to collection, always going further and faster for fear of being pulled under. In a way, we are all members of an orchestra – someone sets the tempo, which gets faster and faster, and we all have to keep up or someone will soon fall off the pace. Until now, nothing has been able to bring the entire fashion orchestra to a standstill. It doesn’t just relate to the fashion labels, of course, but also to the retailers, media and other related fields, too. The entire global construct and its composition need to be revisited and restructured. Most people are aware of these problems, too, and the current situation has brought about a host of exciting conversations and approaches to change.

Do you think the coronavirus pandemic will have a long-term impact on the fashion industry? If so, how?

Actually, I hope that the lockdown will have made a lot of people realise that you don’t need much to live well. When it comes to the fashion industry, I think that processes will be redefined, and that development and production processes will have to be made more transparent. Our new goal needs to be to produce more sustainable, higher-quality products in smaller volumes. We need to learn not to look for new problems or seek to place blame, but to search for alternatives and solutions. Technical developments that were inconceivable just 10 or 15 years ago generated a sense of overconfidence – and we’re now seeing the consequences of this. When a crisis occurs, we just stand by speechless as a chain reaction takes hold that we can’t influence or counteract. So, whether you’re a small label or a major enterprise, production and development processes need to be relocated closer to the creative element of fashion. If that happens, it will also be positively reflected in the end product.

What ideas have you developed for your label, FATEEVA, during the coronavirus crisis?

When my oldest friend called me and said I should make her two dresses during lockdown from the materials I have in my studio, I started to open up all the boxes in my studio I had saved for later to see what treasures I had stored up. I’ve been working with upcycling a lot for my label over the last year: I’ve bought a lot of premium silk remnants in Italy, where I often travel to factories and search for unwanted, leftover materials in huge warehouses. 

Once I finished the first two dresses, I just kept going and came up with the idea of using all the silk remnants to make a new dress every day. And so, my One Dress A Day line was born. As I had different quantities of each material and each colour, the biggest challenge was combining them. It wasn’t just about making a new dress every day, it was about making each dress a colour study and challenging myself within the confines of these creative restrictions. The less material remains, the more exciting it becomes.

Is this idea a project to counter fast fashion? How do you hope it will inspire people?

It is absolutely a counterpoint to fast fashion: I work with existing material resources from the luxury segment and make products myself in my studio in Vienna. I want to develop the idea further and work on unique pieces and alternatives to the current system. There are all manner of ways of making beautiful items sustainably. Each and every company has the ability to work more consciously within the bounds of its own structures! We just need to trust in ourselves to break the mould. 

 

Services provided by the Vienna Business Agency

Sponsored in the programme "creative_pioneer" 2017

Sponsored in the programme "Wien Online" 2020

Awarded at the ideas competition "Creatives for Vienna“ 2020
 
Status: 05/2020

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