02 Jul 2019

Fashion Journalism

Steve Salter: Always A Fan, Never a Critic

i-D's Fashion Features Editor discusses how social media has changed fashion journalism, navigating mental health as a writer, and just what he's looking for in a pitch.

24 Jun 2019

Fashion Educators

Priska Morger, Institute of Fashion Design Basel

"There should be less design, but better design."

05 Jun 2019

Opinion

Learning to Live on a Sinking Ship

This is the story of being in fashion while battling serious depression.

13 Dec 2018

Fashion Educators

San Francisco's Simon Ungless

“Do you have a sex tape? Otherwise, I suggest you start designing.”

25 May 2018

How to

Build An Independent Fashion Brand

Ahead of tomorrow's festival, the Bridge Co. founder Katie Rose gives young designers advice on where to start.

29 Oct 2017

Fashion Educators

Fleet Bigwood

"Trends to me are things that other people make up."

03 Jul 2017

Business Insiders

Jenny Meirens

Business and creativity merged with Jenny Meirens

23 Feb 2016

Graduate Shows

Central Saint Martins MA Fashion 2016

FULL LINE-UPS

Moe Inzali – “Bold but sensitive.”

A look at last year's CSM White Show projects.

Words 1 Granary Team

2017
22nd November

“Bold but sensitive.” Moe Inzali describes the look she created for the White Show. A simple statement, but her structural, intricate garment reveals otherwise at first glance. Undeniably, the undulant textural quality – created through layering numerous, deliberate folds upon one another along the edges of draped cloth – is quite a spectacle for the eyes, as are the voluminous raunchy sleeves. Upon closer inspection of the fabric, we see the technical complexities involved in creating such an ornate garment, demonstrating Inzali’s maturity.

One probably might not imagine this piece to be inspired by ancient cultures of mourning, where funerary practices of the past often involved the creation and use of statues to honour and commemorate the deceased – especially in regard to religious or royal idolatry in ancient civilizations. Inzali’s creation could be seen as a modernized interpretation of a bygone era. Her ability to combine softness with an audacity in silhouette reflects a thoughtfulness to designing that can hardly be encapsulated in a single look.

She shares with us the many hours she devoted to fabric experimentation in the 3D studios of CSM for this work: “I was struggling to develop heavy, stiff and dense material into something wearable and able to express movements.” Reflecting upon her challenging yet no less rewarding experience in the course thus far, Inzali feels that there is always room for improvement as a designer, and that no design is actually ever really ‘complete’. “But you have to stop at a certain point, or it will be over-executed and loose the spark,” she does, however, caution us.

Being a designer can become exceedingly nerve-racking, having to juggle between realising one’s creative visions and the limitations of time. So how does one at CSM cope with the extraneous expectations and internal aspirations? Moe Inzali is perhaps part of the optimistic go-getters within the community. She relates to the tremendous pressure that one confronts with this project, but she keeps her chin up and is in constant search for inspiration all around her. “There were times when I felt I was going nowhere with my project, and at the same time, time was running out. Even so, I had to find a way and make it happen. There’s no other way but to keep going and try looking from different directions.” Also a self-professed perfectionist, Inzali admits that wanting to ensure perfection in her work has contributed additional stress towards her time management. Every creative perhaps sympathises with her in this respect, but what is more heartening about Inzali is her positivity: “If I start turning mistakes into excitement, things might be a lot easier, I mean, mentally! And I am trying!”  This playfulness is part of what makes her works captivating, not to mention her sanguine and infectious personality.