Maya Rutland Envisions Fashion As Wearable Art

Graduating in 2023, her final collection, entitled Suspicious Nuances, explored the experience of being a fraternal twin. “Being non-identical, there are a fascinating amount of things you pick up on whilst growing up so closely together,” Maya divulges. Reflecting on the subtle differences between herself and her sister, the collection experiments with symmetry and asymmetry, as well as conjoined garments. Maya incorporated unusual materials, from waxed cotton and linens to metals. Detailing in the form of double zips, asymmetric fastenings and double stitch lines mirrored the close similarities yet individualism of fraternal twins. Maya’s attitude towards fashion is playful and inquisitive, not just from a construction perspective, but also in the way she approaches design concepts. “I didn’t want my final collection to have too much of a serious undertone to it,” she says, “which is why I focused on a personal relationship of mine that I could play around with.”

“I tend to have an idea in my head when designing and making, that if I could frame it or create an installation out of it after, that would be ideal.” – Maya Rutland

Maya’s interests are specific, yet she investigates a diverse range of art forms to draw inspiration. From endlessly visiting the V&A’s jewellery and mosaic departments, and collecting – when she can afford – historical garments such as Victorian bodices, in addition to military pieces. Her final collection featured a combination of historical influences, ranging from medieval folklore to Victorian tales. Learning that twins were often described as sexual deviances, Maya’s research led her to explore the Victorian corset, which ultimately provided the main repetitive shape that is used throughout her collection. The corset was transformed and reworked in her designs: “I joined the same panel over and over again to create these symmetrical shapes, some sewn on the curve, some sewn on the straight edges, creating really interesting forms that, without being told, you would probably never guess came from a corset panel.”

Fabric and texture play an integral part in Maya’s process, with themes of materiality compelling to the designer. “I loved the texture waxed fabrics made,” she reflects, “the crease and fold lines showed the journey the garments had been on, from being cut from the fabric roll, then to being sewn and put in a sewing machine, to then being pulled inside out, then the right way round again.” The fabric’s journey will continue to develop each time the garment is worn.

“Being able to discuss your own creative ideas with professionals like university tutors is so special; it is near impossible to get that same kind of guidance once you have left education.” – Maya Rutland

An amalgamation of natural, earthy tones makes up the palette of Maya’s final collection, drawing influence from the work of her parents – both abstract landscape painters – who continuously act as forces of inspiration for Maya. Whilst talking through with her mum her desire to incorporate copper, a metal that represents fertility and love in folklore tales, Maya’s mum announced that she had two large copper plates left over from her etching work. Incorporating the leftover material from her mum’s work encapsulates the intimate familial themes imbued throughout Maya’s concept: “We looked through copper patination books, figuring out recipes to get the perfect blue for the copper plates.” The copper was then oxidised and cut into sequins to create a chainmail skirt, influenced by the repeated linear sequins, painting techniques, and tiling in the work of artists such as Alexander McQueen, Barbara Chase-Riboud, and Pierre Soulages.

Maya is extremely skilled in pattern cutting, which she credits to the tutors at The University of Westminster for allowing her to explore and develop. “They really guided us through vital sewing and pattern cutting skills.” Maya urges current students: “Ask questions!”, reflecting that “being able to discuss your own creative ideas with professionals like university tutors is so special. It is near impossible to get that same kind of guidance once you have left education.” However, Maya also found university came with intense comparison, and she was no stranger to the self-doubt that is prevalent when surrounded by others who all share the same interests, desires and similar skills. “I found it so easy to compare myself to the way in which others work, whether that’s the pace they work at or their design processes,” Maya shares. “One thing that I learned is to remain focused on your own work.”

“Many of us are having to push aside our creative work to prioritise things like being able to pay rent and bills.” – Maya Rutland

What would Maya change about the industry? The lack of jobs. “It has definitely taken me by surprise how much everyone is struggling to find work,” she observes. “You look at other fields and a lot of the graduate jobs are starting at 30k,” yet the rare fashion graduate jobs available in London are very low income, despite being accompanied by high-pressure environments and expectations. “Many of us are having to push aside our creative work to prioritise things like being able to pay rent and bills.” It takes planning and rational thinking to be able to take up opportunities. “I have to make sure I can afford to do these types of things,” reflects Maya, having experienced working in the studios of Chopova Lowena, Emilia Wickstead and Paula Canovas Del Vas.

Since graduating, Maya has been working with artist Jonathan Baldock, incorporating her interests in pattern cutting, textiles and silhouette, to assist on exciting upcoming projects. Particularly interested in the making and construction elements of fashion design, Maya is not in a hurry to develop her own brand, acknowledging that “you can gain so much through working with a team.”