The Fashion Folk S03 ep5 : Peachoo Datwani & Roy Krejberg, Peachoo Krejberg Fashion, [India-Denmark]
Interview with Peachoo Datwani & Roy Krejberg
Peachoo Datwani and Roy Krejberg, the Indian-Dutch duo behind Peachoo + Krejberg, belong to the Belgian wing of Paris fashion. They specialize in monochomes, deconstruction, odd volumes, and, when glitz does enter the picture, an organic sort of bling. With its askew jackets, floppy asymmetric skirts, and draped layers, fashion followers saw shades of Ann Demeulemeester’s Spring 2009 collection in the show they put on at the Musée de l’Homme yesterday, their fourth at Paris fashion week.
We are a funny mix of two very different cultures and we have actually very much the same taste.
Me coming from the very cold north and my partner coming from very hot sunny India.
We could easily do our own thing, I think but we have a great time together, we have a lot of fun.
If I ever have to work very close to somebody it needs to be somebody who can really you know
stand me as a person in all situations in our work because it’s not easy when I work always and she
can, she’s got the same swing and I can take her when she’s very difficult and we kind of you know
we give each other a lot of feedback and we make the things together in a very interesting way.
I have always been more specialised in fashion, I have done furniture, I have done many things but
fashion is to me the most interesting thing because it’s with a pace, it changes, it moves and I need
that pace otherwise I do not find things being interesting. Furniture I think you know you can’t
change very often if you do furniture for people they just stick to that for many years where in
fashion things change and that whole thing is what I love.
I don’t know if it helps me, I hate that vice but you know what to do I mean you have to respect
these deadlines you have to do a collection twice a year I mean that we can’t change.
I was in the Fashion Academy in Denmark four years and then after that I started straight away
working with a very known designer in Scandinavia at that point. You have had many in Paris but
they’ve always been quite discreet out there.
I came from Denmark and I was extremely minimalistic at that time, I could not cope with looking
at any colour whatsoever and first of all … work … Kensu well he asked me to come and work
with him and I didn’t understand why because I was known for the total opposite of what he did.
Well we me, and I thought he was a great guy, he seemed to like me also, I thought yeah it would
be great, I would love to learn from him because one thing he could maybe you know educate me a
little bit about colours and how to put them together because I didn’t have a clue and I couldn’t
because it was just completely unnatural to me. He also wanted an aspect which was cleaner at a
certain point of time and he wanted another input.
It was a bit you know north and south again meeting somehow even thought the Japanese culture is
not far from the Danish … really but Kensu was a very different Japanese man, he was this
extreme colourful person with prints and the whole thing and the rest of the Japanese that I knew,
they just couldn’t cope with anything else but black and that was more that world I came from so it
was very interesting and I had a great time with him, we worked together for many years.
I have a minimalistic approach to many things also to when I do clothes but then now and then I
am also quite fascinated about haute couture when it’s really you know I like to mix the two to a
certain extent. I find it a bit boring if it’s you know, becomes too conceptual and I think the two of
us we like this clash and that’s also the way we work, I mean we do not like things to be perfect,
there needs to be something that kinds of disrupts you when you do a look, when you do a dress
with another thing and so on. This is what makes the whole look interesting and that is also what
makes a woman interesting I mean looking.
We do as you call it prêt a porter but we like to take some aspects of handmade you know detailing
embroideries and so on maybe with secondary precious embroidery but we stick it on to a fabric
which is not very precious and the opposite we take a silk that we actually cut to bits and pieces to
make it into a kind of fur textured cape and so on.
When I was a very young student I came to Paris for the first time and I passed the Japanese shops
with a concept that I’d never seen before even though I understood completely that approach to
clothes but I hadn’t seen it like that, it was so pushed and that is the thing that has moved me the
most in all the years basically because it was absolutely something new. You don’t see much of
that stuff anymore because our industry has become something else unfortunately I wish that there
was space today to recreate yet another move and a moved, I hope it’ll come soon, I just have to
wait for all the you know famous crisis to get over and so on.
OFFICIAL WEBSITE: Peachoo Datwani & Roy Krejberg, PeachooKrejberg Fashion, India-Denmark