“Everyone wants innovation; we want it every week sometimes, and this is not good. I don’t think being static and having a moment to pause is a bad thing, it shows that everyone’s thinking.”
For Parv, there should always be a deeper meaning at play. “I want to define or question a problem and offer a solution through my work. When people were seeing it, I wanted them to start questioning the female power and the image of the woman in womenswear as hyperfeminine but functional.” But there are wider questions at work: when does clothing become menswear? What defines power, and in turn, what defines function? Is femininity a form or an action? Governed by this rhetoric, her creations are also a reaction to the hurried pace of the industry. “Everyone wants innovation; we want it every week sometimes, and this is not good. I don’t think being static and having a moment to pause is a bad thing, it shows that everyone’s thinking.” She likens designers to entertainers, placed on a public pedestal of scrutiny and expected to deliver.
“We’re always asking what they’re going to do next, like Raf Simons at Prada or Matthew Williams at Givenchy. We criticise if it’s not the most innovative, and it’s just nice. We criticise and think ‘he’s too old now’ or ‘he should be let go’, when in fact they’re just good at what they do. They’re put under so much pressure.”
Instead, Parv pitches a modern woman who is constantly in motion, operating at her own pace. Unblemished by the rapid current of the industry, she is fully equipped, elegant and powerful, diluting the overconsumption entrenched within society through clean lines and minimalism. And despite Parv’s early toils in understanding the English language, her clothing speaks a universal truth of its own. “It’s funny,” she laughs to herself. “Through my weakness, I actually found my strength.”