The Fashion Folk S03 ep1 : Kinder Aguggini, Aguggini Fashion, [London]

Interview with Kinder Aguggini

Kinder Aggugini CollectionKinder is an intriguing character. An Italian Ex-punk, he studied at St. Martins during the 1980?s and worked on Savile row before movingto John Galliano (where he applied for the job dressed as a policeman). He also worked at Vivienne Westwood, Paul Smith, Calvin Klein, Costume National and as a head designer for Versace following the death of Gianni. Its a pretty fine fashion heritage by anyone’s standards

 

18.38
Imagine if Coco Channel had married Sid Vicious, that would be my idea, it’d be two things that
sound just opposed but work pretty well, Coco Channel was really hard and yet very elegant and
chic and Sid Vicious had a strong look but was kind of soft, so you could see that in the partnership
she would have overtaken chic-ness over rock ‘n roll, so that’s what I try to do, I try to do
extremely chic clothes with an underlying rock ‘n roll.
19.05

19.16
When I was seven I noticed that everybody in my school had ripped jeans and ripped jumpers, but
my mum really kept me up really well so I went home and I cut all my jeans, I ripped everything
and I realised that I wanted to identify with everybody else so I changed my clothes and when I
went back to school I was accepted immediately and I realised the power of clothing and then I
started saying to kid’s friend, say do you want me to rip your jeans, you’ll look really cool and
they’re like yeah, yeah, yeah, yeah and I guess that was how I got obsessed with clothing.
19.45

19.55
Fabrics are a starting point from the conception part of the collection because it was a transitional
moment in life I wanted fabric that felt that way so fabric that normally I use for furniture or the
underskirt or fabric that I’ve used for dressing so it was a transition from one technique to another
and also I’ve used prints and I’ve overlaid them with different prints, or I printed fabrics that I
normally design to be printed so they are to be treated exclusively and the colour … was they were
printed. Bit too technical but it looked good.
20.30

Jewellery Theatre Carravaggio

20.42
Inspired by fairy tales so many way the transition from a child to a grown up. Not necessarily
physically but mentally is the moment where you realise that not everything is candy coated and
you know there is something else in life and that’s when you actually start thinking ooh and you
become a grown up even if you are very little and I wanted that to translate into clothes so I made
clothes starting from children’s wear into sexy women’s clothes.
21.07

21.20
I mean I do a lot of black but it’s a lot of the stores were buying safely they would buy the things
that they knew they could sell and I’ve just delivered my autumn winter which is kind of colourful
as well and is sold out because I think there is the need, people want … don’t want to be oh there is
a recession they want to be a little more happy and I kind of wanted to put happiness on the
runway.
21.41

Jewellery Theatre Carravaggio

21.55
Fairy tales, isn’t it strange that we tell these stories to children and they’re so terrible, it’s like the
wolf eats the little girl and the two children are lost in the wood and they get eaten by the old lady
because life now is very real, it’s a bit dreary, people think oh there is a recession, I wanted
something that was that transition from bad to happiness and then I wanted to put that transition on
a runway through colours, volumes, prints and pretty girls.
22.24

22.40
Our industry isn’t very eco friendly, we could all try to be a bit more eco friendly, there is a lot of
waste which we should minimise, we should be more careful to have a smaller carbon footprint, it
is possible and I think most designers are trying to and economical times are hard you have to
economise and then you become smart and when things get better you know the system you’ll
work with that.
23.04

Jewellery Theatre Elements

23.20
It took vintage clothes from like sometimes was school clothes most were like small ball gowns so
they’re made for children’s party and whatever, I was a tailor when I started, I knew how to open
pretty much as if you had to make it into a bigger size but it needed to be like seven sizes bigger.
Ultimately children’s clothes are made straighter, they have no shape so I gave it a shape on a
mannequin, I made it while … the two are one into a model and then from the model we gave it
sexiness. Then when the clothes were very sexy you could see in some jackets you have extra bits
that were black, that’s where I had to lengthen the jacket, open it up at a seam at the front, at the
back and it went on the model and it became super-sensual so I just wanted that … girl to have a
pretty girly childlike face with girly ringlets with some sensual clothes that were coming from
children’s wear so instead of deconstructed it was reconstructed.
24.12

Jewellery Theatre Fairytales

24.24
I wanted something that referenced what fashion was like 25 years ago when the show started a lot
of the young designers were using Union Jacks and you know they were really being British and I
took a British Chinese painter to paint over the skirt with a Chinese technique but with kind of his
own art design and then I made it a t-shirt that said happy birthday because I wanted to wish happy
birthday to 25 years of fashion week. Everybody I worked with backstage, hair, make up, it’s
people I’ve known for 15 years and have worked with them when I was a designer elsewhere.
25.00

25.11
The funniest thing that happened during the show, I was looking for a girl for about four hours and
she was next door.
25.18

OFFICIAL WEBSITE: Kinder Aguggini, Aguggini Fashion, London