The genesis of Siersted is undoubtedly a story of passion and vision. Can you recount the journey that led to the creation of the brand and the main cultural or artistic influences that have shaped its direction and ethos?
As some might remember, Siersted used to be a multi-brand store located in Copenhagen. Working with brands from all over the world, visiting fairs, showrooms and shows, you really see the true nature of the industry.
The pace of production was outrageous. Still is. Everything was about news value. We took part in this.
At that point, I had no idea what the production world entailed or even how to use a sewing machine. Creating a universe evolving around these established designers was what I loved most about having a store. The art direction that goes into launches and installments was what kept the project interesting.
Day-to-day operation often came in the way of these outlets. We decided to close the shop after three years. Instead, we opened a small atelier and spent all our time learning the craft and thinking how production could be done in better ways.
Time became the essence of our brand.
In order to make clothes that people would buy to keep for many years, we wanted to put more consideration into the creation of these.
Your first collection, "Someplace, Somewhere", encapsulates a theme of navigating through transition and the unknown. How did these themes influence the collection's aesthetics?
So, we found ourselves an atelier. Nothing special, it was located in one of those industrial suburban areas outside of Copenhagen. Most of the time it was foggy. If you've ever seen a Todd Hido photograph, that's what it looked like.
To us, this is where it all began.
Starting from scratch in unknown territory there was this haze of uncertainty that we wanted to portray in our collection.
We collected ripped packaging and browsed through old RayGunn magazines. The graphic work by David Carson was inspirational to the idea of how to portray usage and time as something more elevated, finding beauty in raw imperfections. Visually, when something is too controlled, too perfect, I get bored. To me, the irregularities of nature create the most stunning pictures.
We wanted to make more personal garments, leaving marks from the production phase in the final products.
That's why we print and dye everything by hand. This way, all objects vary ever so slightly, creating depth and signs of an actual person making the garment.
Our graphic work references Carsons', created by old shipment invoices and hand-done Letraset letters. Same technique used to create these magazine covers in the 90's. Even our labels and shipping bags are made in-house to be more personal, most being burned or distressed slightly in the fixation of the print.
Siersted places a strong emphasis on sustainability, using natural and deadstock fabrics. Could you elaborate on the challenges and rewards of this approach, particularly in maintaining quality and durability?
In order to create long-lasting items, fabric choices are important to us. As we try to abstain from seasonal trends, cotton is a timeless choice. To ensure durability and longevity of our garments, we use organic, recycled or deadstock fabric. One of cotton's greatest qualities is how it ages.
To me, some of the most beautiful garments are those that have survived decades. It shows. You see the history in the garment. This goes for furniture, ceramics, architecture and so many other things as well. Ceramics especially I find inspirational. How colors blend, depth is created and the process of making the object shows in the outcome.
Being aware of materials and understanding the aging process can help us ensure that we create objects that don't only look good at the moment of purchase.
Your production partnerships in Europe and the manual process of fabric dyeing and printing in Copenhagen highlight a commitment to craftsmanship and ethical practices. How do these approaches align with Siersted's brand values and what impact do they have on your collections?
When we started this, it was important for us to find our own pace and re-think some structures of the industry.
I've always been inspired by the artisanals of Asia and their hand held approach to craftsmanship. Textile prints and dyeing techniques done by hand.
In our part of the world everything needs to be done fast, efficiently and without the signs of human touch. It just doesn't align with my perception of beauty. That's why we do it this way. If the color bleeds a bit or every object is slightly different, that's okay. It's about giving personality.
Adding to that, it gives us an unique opportunity to control colors, depths and nuances. It's time consuming, of course, but creating your own color library of uniquely crafted colors is truly satisfying.
Looking ahead, what new directions or themes are you exploring for Siersted's future collections?
For our future work, we will take a step back and evaluate again. Still doing things at our pace. After the summer, I'm starting my Master's Degree.
For upcoming collections, I think people can expect something more artistically challenging, staying true to our crafty approach but working even more on colors, surfaces, silhouettes and personal expression.
Today, we talk a lot about sustainability, our commitment and responsibility.
And that's great. But in my world, sustainable efforts or practices cannot define a brand. We want to be judged for our artistic output. We want to create garments that people value as they do interior or art. Objects you buy to keep for many years.
