MOLLY GODDARD

Molly Goddard interview by Filep Motwary for Vogue Greece © November 2023

Molly, can you tell me more about how you connect with fashion to begin with, what was your starting point – what was your perception of fashion before you got involved in it? What kind of artists and fashion designers were influences on you back then?

Growing up I lived in a very creative area, close to Portobello Road and Kensington High Street, where in the 1990s it was a very exciting and fashionable place to live. My parents have always been interested in fashion and had a sense of style, so I think that played a big part in my interest. I dressed in interesting clothes as a child, nearly all vintage or second-hand, and knew from an early age that clothes were there to be enjoyed.

I was probably 14 years old when I became interested in designers, especially John Galliano and COMME des GARÇONS. I knew that the best British designers had studied at CSM under Louise Wilson so from an early age that became my goal.

If I asked you to describe your identity as a fashion designer?

I just like making clothes, wearing clothes and seeing people wear interesting clothes. What I like changes constantly, but I guess there is a solid interest in fabric manipulation and silhouette that I never get tired of.

Were you ever worried about the path you chose?

I never intended to be a designer, but when I was studying the idea of having any ego enough to start my brand was unimaginable. I wanted a job and the prospect is still quite tempting – much less pressure! But I feel very lucky to do what I do, I have an amazing team and each day is interesting and genuinely creative.

What is the biggest challenge the brand is facing right now?

There are too many to mention, building a sustainable business for the planet and my staff is the most important thing for me at the moment though.

Which is your most important responsibility these days and why? In what ways?

At the moment I feel a great responsibility to myself to not compromise. It’s very difficult when you are compared to massive brands with millions of pounds and there is so much demand for newness. The demands on small businesses, like ours, are endless and it can make it hard to remember why I started in the first place and what is important. Being creative and enjoying what I do each day, goes for everyone who works for me too. It’s easy to get swept up in the drama of it all. But it’s just about making good clothes that people will treasure and doing it in a way that is fair and kind to everyone.

During the pandemic, there were a lot of conversations about slowing down fashion. Do you think that the industry is capable today in cultivating these streams?

It feels like things have sped up to me; the need for more imagery and more of everything feels like a result of the pandemic. I think people have realised they can do things in a way that suits them which is positive and we are certainly working out how to be a more self-sufficient business which feels good.

Do you ever feel a sense of responsibility to talk about your work, to talk about Fashion? – Reworded: Do you feel a sense of responsibility in talking about entering the industry, becoming a designer, the challenges associated, etc. As a leading designer in the industry, is it important to you to pass knowledge on to others?

I feel it’s important to communicate how many amazing jobs there are within the industry, both creative and non-creative. I don’t feel that’s something taught in school and I didn’t even get a sense of it during university. Understanding what it is that excites you and makes you happy is most important, otherwise, it’s not sustainable (unless you just like money, of course!)

Is it necessary to take risks when making fashion? What was the biggest risk you ever took? 

I don’t know if doubling the amount of fabric in a dress or doing a new kind of fashion show is what I would call a risk – I think it’s an odd word for fashion as everything is in some way new and unknown. We have to take risks in the business, as it’s all so unknown in many ways but never risks that put people’s jobs on the line or cause too much stress.

What kinds of questions are you asking yourself when you sit down to design a collection, what is your mood board process until the first pattern is cut?

I begin a collection with research. It’s a very random process and makes little sense to anyone else, but to me, the collection is very clear. I visit libraries, museums, and galleries. I normally know exactly what the next show will be about once I have finished the previous one, and then that idea organically grows based on what I pick up in those various places of research.

The bulk of my research comes from books and magazines. While researching, I’ll be designing at the same time, and then the process kind of continues to develop in that way: research, sketching, and then developing toiles and working on fabrics with the atelier.

Your FW23/24 collection was very down to earth, extremely wearable, and far from the incredibly impressive tulle and hand-smocked taffeta dresses from previous collections. Tell me more about this season.

To be honest, I was feeling quite frustrated with the fashion world and the industry’s relentless pursuit of viral moments and instant visual gratification. I wanted to create a collection that reflected my nostalgia and memories, tapping into something more intimate. I felt frustrated with the emphasis on clickbait and fleeting sensationalism. Instead, I wanted to focus on designing clothes that felt genuine, real and truly resonated with me.

In essence, the collection aimed to emphasize the core purpose of our business, which is to create clothes that people wear. It was about prioritizing the needs and desires of the individuals who would ultimately wear the garments. Pieces that were relatable, practical, and personal.

What does innovation look like these days? Is Fashion Week still relevant?

I’m old school! I love the traditional way of showing a collection and then selling it. I enjoy the relationship you build with buyers and the press. It’s a great expense for a 10-minute show; however, I think there’s no other way of purely communicating what that collection is about.

It’s also the cathartic release that you need each season to keep the creativity alive and ideas flowing or moving forward. I always hope my collections feel new and interesting, but equally, I never follow trends or try to do anything that doesn’t have an element of longevity to it.

Did you have a perception of the body and the art of dressing it or not? What is your perception of the body you design for? How connected are you to it?

I think about the body a lot when designing – I think about my body, my friend’s bodies, different shapes and sizes of bodies. When designing clothes, you are always thinking about the form that they are going to be worn on. It’s impossible to separate the body from the clothes anyway, it’s a bit like saying to design kitchens, you need to think about food.

What is your philosophy when it comes to making fashion that is heading towards a fully digitised future, whilst also needing to be sustainable? 

I don’t envision a fully digitized future for fashion. Physicality and the ability to touch, feel, and wear clothes are essential for self-expression and enjoyment. In my optimistic opinion, physical shops will always have a place alongside online platforms, offering a more sustainable experience. Sustainability lies in keeping things small and minimizing waste. We are currently focusing on a big made-to-order offer. I have no interest in a fully digital fashion future; I love creating beautiful, tangible objects.

How challenging is it to create clothes for a universal type of woman today? Who is this woman after all?

Our customer varies massively which I love – all ages and body shapes. We offer up to a size UK18 wholesale and up to a UK22 through our made-to-order. Our customer is someone who enjoys clothes, appreciates craft, and doesn’t take themselves too seriously.

Molly, what is perhaps the most important quality a fashion designer can have?

Being a fashion designer is one thing, drawing well enough to effectively communicate your ideas is important. However, running a business is also really important, I’m very involved in all elements of running it but appreciate that it’s an amazing job – you can’t do it without the team you work alongside, so the most important quality is to treat people with kindness.