era. “I felt like it finally gave me confidence. We had to generate ideas so quickly, and all the time, which was perfect for the way I like to work. And there wasn’t too much over thinking – it just had to be visually impactful and youth-focused. It made me think about the importance of surface design.”
And despite Ed’s resolutely independent practice, he’s “always really enjoyed the commercial side of fashion,” he says. “It’s the product that grounds me – the process of designing garments. Everything else I do is just a bit chaotic – how I create artworks, for example, is a bit all over the place. But when it comes to designing the garments, it just feels like I can bring it into focus.”
It’s a sense of balance that he’s carried over into his work as an independent designer, tactfully deploying fashion’s product-oriented nature as a conduit for an artistic approach driven by emotional conviction and creative instinct. “I think it’s forced me to try and make stuff that people are actually going to want to buy. I can’t just be in my studio doing whatever I want. I have to try and commercialise it.” That’s not, however, to be read as Ed kowtowing to the fashion system’s rules.
‘Almost’ is the operative term. Gauging by the designer’s eclectic output thus far, the only thing we can reliably expect from him is anything but the same as what we’ve seen. “When you look at what I make, I guess it isn’t particularly coherent. And I quite like that. There are different elements and levels to my work. I like to mix up all these ideas in the hope that it will create something new,” Ed says. “I don’t really want to be too concrete in stating who I am.
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