We have met Per Oyvind Ruud last year when he was doing his final BA collection and it was the week when he was accepted by Louis Wilson to an MA course. After spending 2 months helping him, we’ve learned the most important thing, which helps us now a lot: take it easy. He is different from others in a way how he manages his work: calm, focused, always positive. It is a rare quality in CSM where people are always very stressed. Next year we will see him on LFW and he is definitely one to watch.
Photographer: Kim Jakobsen To
Model: Kasia Wrobel
What was your journey to the MA fashion course?
I grew up in Norway, and I decided I wanted to do fashion from en early age, I think I was about twelve. I moved from my parents aged 16 to go to a high school specialising in fashion. After that I did an art foundation course for a year followed by a year at a school specialising in pattern cutting and sewing. While I was there I worked on my application to do the fashion design with marketing course at Central Saint Martins. Having interned at Mary Katrantzou, Louise Goldin and Thomas Tait on my placement year I went on to do my final collection. Having gained experience and confidence from my year out I did a project which got me a place on the MA Womenswear course, after my tutor Heather Sprout manage to get me an interview with Louise Wilson.
How is it so far? Is an MA course drastically different from a BA?
It is different. On the MA there is no group peer learning. You work independently and learning comes from tutorials and appointments with Louise and the rest of the MA team. The course is very intense, so you have to bring all your personal and professional skills you have learned so far, and then you just have to improve.
I am enjoying it a lot. It’s an education.
What are the most important skills you need to survive the course? Advanced pattern cutting skills, personal vision and style… thick skin?
As I have not yet survived, I can’t really answer that question, but in general, confidence, a long term goal and general fashion skills go a long way. It is important to know where you been to be able to go new ways; that’s why it’s just as important to know our cultural history as it is to know what’s going on within contemporary culture.
What is the best thing you’ve learned from Louise Wilson so far?
One can always do better.
Has your internship year changed the way your work and perceive fashion today?
I gained a lof of confidence in my year out.
I would say internships are crucial.
What is the idea behind your collection?
The title for my BA collection is Post Neo Elegance. I was inspired by the elegance seen on the catwalks in Paris and New York in the late 80s and early 90s. I was also inspired by contemporary artists such as Thomas Demand, Armando Andrade Tudela and Francis Alÿs who influenced a new way for me to do patterncutting where I combine pattern blocks to create large surfaces with few or no seam lines.
What influences you the most?
For me a creative process either start from a philosophical or aesthetic point of view. I am usually always inspired by contemporary art in one way or another, either through photography, painting, installations or sculpture. I tend to do some historical fashion research and I always do extensive fabric research which often determains the direction of my work.
Does fashion worth for you all the stress, work and sleepless nights that we have?
As fashion designers, or artists, we are given the opportunity to influence contemporary culture through our personal work. To be able to express oneself through art is worth a sleepless night or two, it think even adds to it, wouldn’t you say?