Unexpected, but in hindsight almost fated? I went to business school and in 2008, I had fancy job in finance when the very unfancy financial crisis hit. With the world on fire, I — along with the loose screw in my head — packed up my life in 8 days and moved to a different continent.
How did you learn your skills?
I have always been an incurable, chronic crafter. Growing up a size too small for everything, I used my crafting skills to teach myself to alter clothes, and eventually, to make them from scratch.
When I first explored the idea of entering into the fashion arena, I had no fashion schooling and very little insight into the industry. I had little idea what the path ahead held, but I had what felt like enough perseverance to pave a highway to the moon. The A Dress A Week project catapulted me into this world of fashion and entertainment in 2013, which was all very exciting and a school like no other.
In 2021, I stepped into a brand new world of wearable art with my debut at Canada’s long-running Cashmere Collection in Toronto (that’s the one that sends designers an entire box of bathroom tissue to make couture outfits from). Learning to work with unconventional materials has been trial by fire, but it also opens up a whole new set of opportunities for me to express the endless stream of social commentary that runs through my head. Since then, my wearable artwork has been featured on international platforms such as the World of Wearable Art, the Palm Springs Art Museum, and at solo and group gallery exhibited in Southern California.
Who are you as a designer? Aesthetic? Customer? Brand?
I don’t believe in designing for aesthetics’ sake. I love the kind of beauty and elegance that look like they transcended through millennia of human history to land on the canvas of my creation - the opulent, the refined, the impeccable finishes of honed craftsmanship. I also love the defiance of punk and all things countercultural — outsider art that express more than words could the resistance against rules that exist for the sake of perpetuating traditional narratives.
What comes easiest for you as a designer? What is hardest?
I have a million ideas but only twenty-four hours in a day to eat, sleep, doom scroll, and execute on those million ideas. Time is in short supply and figuring out the correct allocation to not just design, but also run a business is a daily struggle.
Where do you find inspiration for new collections? How important is colour to your design process?
I suppose I’ve always taken an artistic approach to my design work, but the definition of “art” for me has changed over the years. I used to be quite focused on finesse, detail, craftsmanship, and story; a lot of the visual manifestations of art. As I’ve developed as an artist, my approach has become more contemplative on the idea of art, so the work extends beyond the narrative to a more philosophical expression.
As for colours… I’m in favour. I imagine them as mismatching friends you invite to a party — eclectic, dramatic, and unexpected. You win when when you can make a combo that’s greater than the sum of its parts.
In 2023, you turned your creative focus to competing in the World of Wearable Art Competition in New Zealand. What drew you to enter this creative competition, and what was the application process like?
It’s quite a story. In 2022 I was approached to mount a solo exhibit of wearable art. It made me wonder what other avenues were available for these admittedly not very wearable pieces to be displayed. That’s when I discovered the World of Wearable Art, thinking it would be a fun thing to do… in the future.
It is the premier wearable art competition and show in the world and that’s reflected in the competitiveness of the process. There are a total of three rounds of judging by industry experts that have terrifyingly long lists of credentials. About a hundred entries are chosen each year. Nothing is guaranteed until you get the magical email in July that tells you whether your work has made the cut, and whether you’ve been invited to New Zealand.
In 2023, I created Sol Invictus for the competition’s “Gold” section. It’s a literal 4-foot diameter sun disk, entirely in gold, strapped to a human body. This piece has since been shown at a number of exhibits, including at the Palm Springs Art Museum.
In 2024, I created je me connecte, which is made from about 1,000-feet of ethernet cables that plug right into the model’s helmet. I wanted to visualize how we literally connect ourselves to data, cannibalistically becoming both consumer and product.
Having started as primarily a fashion designer, wearable art truly feels like a pioneering exercise. It’s not just the work and the concept that’s new and unique; in wearable art, you pioneer your own methods. I’ve learned more about adhesive and hardware and foam and paint chemicals than I ever thought fashion design would lead me to.
Looking back, what was the experience like? What did you love most about being there as an artist working in fabric? Were there any unexpected surprises, or is there a great story from your time there to share?
The World of Wearable Art puts together a thoughtful, action-packed program for finalist designers every year. Just being in the same space as this level of talent from all over the world is a surreal experience. It’s really quite an honor to see my work exhibited among this caliber of output.
In closing is there anything else you'd like to share with readers?
Lots in the works for the next year, with some pretty exciting wearable art accessories in the works. As for World of Wearable Art – watch my Instagram after July 4th to see if I’ll be headed to New Zealand once again!
Social Media Links -
- Website - www.ateliergrandi.com/
- Facebook - www.facebook.com/AtelierGrandi/
- Instagram - @atelier_grandi
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