Backstage at the V&A: a talk with Peter Pilotto and Christopher de Vos on adrenaline rushes, technical innovation and Jessica Rabbit
“Peter, should we do this interview now?”. We’re backstage after the “Fashion in Motion” catwalk show at the V&A museum, which has given us a retrospective of the London fashion week darling Peter Pilotto’s collections. The impatient question comes from Christopher de Vos, Peter Pilotto’s co-designer. With his put-together attitude, he strikes me as the more serious of the two. “Give me a minute!” Peter Pilotto shouts back, seemingly flattered by all the well-wishers that fight for his attention. “This girl and me studied together. She helped me set up my first Hotmail account!”.
By now, most people on the fashion circuit have familiarised themselves with the “Wizards of digital prints” – the designer duo behind Peter Pilotto. Known for their technical innovation, endless ideas of graphic prints and eye for new types of silhouettes, Peter Pilotto has gained the nod of approval from fashion-forward editors and buyers to later become celebrated by an enormous social media following. In other words; they’ve got the attention of influencers and their magical wand seems to be working just fine.
“Challenges are the exciting part. For us, stress means excitement which means adrenaline” Peter tells me as-a-matter-of-factly when asked about the struggles with today’s constant digital media exposure and a four collections per year-demand, recently questioned by Suzy Menkes in Vogue. Christopher shakes his head with the same attitude: “Problem solving is what we do. Peter is the morning person” (he says blinking to his partner while Peter makes a “stooop it”-gesture back) and continues: “we have two coffees a day, and make sure they are strong ones. Then we get to work”. I get the feeling that Christopher and Peter are reluctant to criticizing an open-to-few industry they have just managed to enter, which many more aspiring designers dream of being a part of.
Perhaps being two means shared pressure, unlike in the case of Raf Simmons and Alber Elbaz. Social media is a double-edged sword, with the obvious opportunity of over-night digital fame, but also with the risk of later stabbing you in the back with unrealistic demands from your followers. To quote Elbaz; “Us designers started out as couturiers with dreams […] now we have to be image makers, making sure it looks good in the pictures”. Yet, Peter Pilotto doesn’t seem to experience that struggle. “Technical innovation has always been a core element of our brand. We were using digital prints when no one else did” Peter defends the high-tech revolution. Having a natural curiosity for Silicon Valley’s latest endeavours has made them what they are today; a wearable hybrid of fashion and tech, seemingly a successful potion with the current heads-down generation.
Amidst the discussion of future technology, the paradox of finding ourselves in one of the most historical buildings in London suddenly becomes obvious, with Peter rushing to add: “It’s important not to forget the great things that have existed as well” he says, pointing at the 15th century Altarpiece of St George in the Raphael gallery where we stand. “London is so exciting in that aspect with the strong art scene and its energy you feel throughout the city” Christopher tells me, revealing his passion for the capital. Peter shoots back: “What’s even more exciting is that many of our friends here are artists. We are inspired by their work, while they wear our clothes – it’s really an artistic symbiosis!”. Not only loved by artist friends, Peter Pilotto has won the likes of big names such as Jennifer Lawrence, Lupita Nyong and Miranda Kerr. “Who would you want to dress dead or alive?” I ask as I conclude the interview, expecting to hear some iconic fashion figure’s name. “Jessica Rabbit!” Christopher amazes me, proving my hypothesis wrong of him being the “all work no play”- type. Peter Pilotto indeed seems to be in the business of surprising, and it will be highly interesting to see what they pull out of their digitally printed hat for next season.
By: Anna Madsen