LEM is a slow fashion label from Georgia, that hinges on historical fashion and loves to mismatch prints, fabrics, and iconography to feed its eclectic craftsmanship. Directed and driven by self-taught Pridon Niguarani, the brand speaks loudly about the power of reinvention and recreation. GLITCH was able to connect with Niguarani, and uncover the creative process behind his dissident but encapturing collections.
Can you recall the first moment you were excited by fashion?
I have a clear memory of being a boy, aged between 10-12 years, when I was given a blue oversized T-shirt with lots of eccentric prints. I was so proud of it attracting attention!
How did you learn to design? Would you say your craft was self-taught?
I am completely self-taught and rely on online tutorials and archives to continue and refresh my education. I am also an inquisitive traveler, and love going to museums where historical, military, or contemporary clothing exhibitions are displayed, I think these fuel my inspiration. Fashion history itself is a great teacher and I always try to deep dive into the wonderful world of fashion history.
Who is LEM for? What is the LEM woman and what is her ethos?
LEM is a word of Svanetian dialect (Georgian), which means “Lion” and is often used in ethnic storytelling. My grandmother was a good tailor and she had renovated a design of an old lion flag, sewing a new one which was more embellished, showing lions and horse riding and it stands as a symbol of old Svanetian warriors. Nowadays, the LEM flag is annually deployed in Svaneti horse riding tournaments and carried by the champion. There is therefore a sense of national pride, a sense of success, and a sense of fighting instinct woven into my brand. The LEM world is powerful and proud.
Can you describe how LEM draws on the history of fashion?
I love the history of fashion and I am especially captivated by medieval aesthetics including armour and knight outfits. I regularly visit old archives to get new inspirations or watch historical films and am intrigued by the beauty and myriad of materials that we have historically used to dress ourselves. We can not forget about the roots of fashion, but we also must look towards the future. That is why my collections are a fusion of the old and the new, particularly when it comes to upcycling headwear and adding accessories.
To what extent is LEM looking back to archives, and looking forward to the future?
As a designer, I am deep-diving into old-century fashion. In particular, I look towards the Roman era, and old Greek and Egyptian styles, or the uniforms of militia and warriors. But I am also hooked on thinking about the future – if humans inhabited Mars, what would they wear? Of course, fashion is facing big challenges, alongside many other industries, but the industry is clunky and very slow in responding to challenges. In a few years, we might see major impacts and changes in fashion. I believe that there is a bright future for sustainable fashion, and morals and ethics will have a more purposeful role in shaping the industry. For LEM, we are constantly trying to become a more sustainable brand, limiting our production impact and minimizing our waste generation.
Can you describe the creative process behind LEM? From sketch to garment construction, what fuels inspiration?
I have three ladies who support the construction of LEM collections alongside myself, and they are freelancers bringing diversity to the table. We first discuss the aesthetics concepts, the colours and the inspirations and then we sketch these ideas to life, before starting to think about the engineering of the garment. Inspiration comes from every side of life: nature, flora, fauna, planet, sports and art, rock music, and paintings. But as previously mentioned, most of my creativity hinges on fashion history and archives.
Which has been your favorite collection to date?
I am not sure. I couldn’t say – I love all of them! Interestingly, I often self-reflect back on my own collections and use my own galleries to fuel further inspiration.
What sets LEM apart in an oversaturated fashion landscape?
LEM is unique because of our fusion of aesthetics. We are modern whilst paying homage to the past, we use new fabrics and construction and old concepts. I think our storytelling is complex and intriguing, wrapped up in lore and legend. Yet, we are still able to connect with ordinary people and hook them with our eclectic compositions.
What is the “Sleeping Beauty” in fashion?
“Sleeping Beauty” is the name of my upcoming collection. For me the sleeping beauty is the art of fashion itself, which lies low in manufacturers’ priorities. Nowadays overproduction and chasing millions often become the first aim of fashion, which is disappointing. In my new collection Sleeping Beauty, I refer to old archives from Sciaparelli, House of Worth, Dior and others. This collection is a modern interpretation of “Sleeping Beauty” styles, which have been carefully stored in museums as they age, but can feed new life by becoming icons of inspiration.
What does your SS25 collection aim to excite in the audience and customers?
This new collection aims to portray to my customers the intrinsic beauty of fashion and exemplify how old archives have a space in modern interpretation. Fashion is here and there, and it will be with us any time we exist. It is an integral part of human evolution and we fashion designers need to show and elevate all the magic beauty of it.
Written by Hebe Street from GLITCH Magazine
Words by Pridon Niguarani, Founder & Designer of LEM
