Whilst the individual identity of each designer can be traced throughout the project, so too can a purposeful negation of individual context. The interaction between personal identity and collaboration evidenced throughout the G03 Project is exciting not only for how it culminates aesthetically, but for how it has rewarded its members personally. Providing mutual support and inspiration to one another has served the evolution of both the G03 Project and the design practice of each designer. The G03 Project suggests that authentic collaboration with peers may well be preferable to facing the challenges of the creative industries alone.
“We grew more into a family rather than a fashion collective.” – Vivien Canadas
Canadas speaks to the design trio’s personal bond noting that they “grew more into a family rather than a fashion collective” This sentiment of familial bonding is particularly true for this creative trio who share the same home. The decision to live together stemmed from a mutual understanding of what would be required of them mentally and physically throughout their time studying MA Womenswear at Central Saint Martins (CSM). “We knew It was going to be an intense year,” says Guilmard, “The kind of lifestyle a Master at CSM requires isn’t suitable for everybody, so we didn’t want to impose it on strangers.” The lifestyle that Guilmard speaks of is synonymous with the pressure and high demand of creating a fashion collection in an educational environment like CSM. This pressure was likely exaggerated by the emergence of a global pandemic that limited resources and required that emerging designers reimagine means of production and presentation.
“During tutorials, our tutors would ask us not only about our academic projects but also about our home life and how we worked together.” – Lucile Guilmard
The G03 Project exemplifies this reimagination, showcasing garments made in the designers’ shared home, and photographed on one another. The result is refreshing and charming, the appeal of the project is harnessing its relevance as an antidote to the challenges of creating during a global pandemic and the navigation of collaboration amongst emerging designers. The latter is something that Guilmard acknowledges as she notes that the notion of three emerging designers living together had long been a point of intrigue. “During tutorials, our tutors would ask us not only about our academic projects but also about our home life and how we worked together”, says Guilmard. This intrigue may well stem from the common perception of competition within the fashion industry. Yet, the organic formation of the G03 Project suggests that if such competition exists, it need not serve as a hindrance; instead, it maintains the ability to act solely as inspiration. As Canadas notes: “Competition feels like fuel rather than something that would tear us apart.”