Fashion weeks are the heart and soul of fresh talent; delicate outfits strutted down the catwalk and with the flash of a camera it is all over too soon. Pierre Renaux was one of the designers that caught my eye, for many different reasons. Fashion has to create a statement, at most tell a story of the designers work, and Renaux’s collection was enigmatic in the sense that it was confusing yet made perfect sense all at once.

I had the opportunity to talk with the man himself, and get an insight not just into the show at Vancouver, but also up close and personal with some of the gems from his collection.

Hi Pierre, firstly, why did you decide to become a fashion designer?

P: I never decided I wanted to become a fashion designer. I did not grow up within a creative artistic environment, so the nurturing of this desire is rather unexplainable…but I like women’s bodies very much.

Who are your inspirations when it comes to designing?

P: I’m afraid that trying to list my inspirations as a designer would be counter-productive, as they are ever changing and pluri-disciplinary. It might even undermine my work because I don’t like the idea of encompassing it in one particular topic, subject or visual area.

This was my favourite out of the whole collection. What kind of materials did you use to create this dress and why?

P: For this dress I used hand-cut panels of a particular type of foil: It is similar to the white boards you write on with an erasable marker. It had the right amount of glossiness to it, and is actually magnetic!

This showpiece needed to be visually striking, an aesthetic statement, as opposed to other moments of the collection that needed to be toned down and balance the overall effects of the look as a whole.

Did you want to split your collection in any way showing two halves, one being slightly less detailed than the other? If not, what did you want to show?

When you zoom in on the photograph of this grey draped top, you can actually notice that the fabric is rather intricate: it is the back side of a sequined polyester that articulates the draping into little facets.


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P: Within 10 looks, I tried to balance wearable and statement pieces to ground my collection into reality.
Indeed this particular look is quieter, as intended.

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I then had the opportunity to discuss a piece within Renaux’s collection which I personally did not like, nor understand in comparison to the rest of his collection, he described it as “the epitome of my concept”

P:  I am glad it disturbed you visually. 
You can notice that some of the other looks are adorned with shop-security pins, used as brooches, as if they were shoplifted. This one look is the entire glass window of my store, that a woman ran away with. I imagined a woman who draped herself with the front window of my imaginary store, once my brand reached bankruptcy, dereliction. 
From this idea I developed my own texture, mimicking broken glass, by using a special-effect liquid «Rubber-Glass» material that I poured onto transparent tulle, to be able to crumble it into glass shards and keep its integrity as a fabric.

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P: Everything in the collection was intentional! I used once again this magnetic-enamel foil that i hand cut. 
I wanted this dress to look like a visual prolapse, more free and carnal. The material being cold looking, I find the tension of these two aspects particularly interesting.

Lastly, how did you find the whole experience in Vancouver? Did you feel under pressure whilst the models strutted your personal designs down the catwalk?

Firstly I was very grateful to be invited to participate. Vancouver was extremely welcoming and the show experience was nothing but positive. 
The moments before the show were pressuring but the models and the team were just great. Everything went perfectly, and I felt from backstage that the audience really responded for my work which is really an indescribable sensation.

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Colour Photos: Michael Smits
Black and White Photos: Amy Williams