In a conversation with Susanna Pugliese, about her journey from the University of Westminster to working under the renowned house of Robert Wun, GLITCH gained insight into the resilient pathways of emerging talent today. Pugliese spoke of the hustle culture industry she chose as her destiny, and how she sees it as vital to fully immerse oneself in a learning mindset.
Who or what inspired your career as a fashion designer?
My career as a fashion designer was inspired by a combination of my creative upbringing and significant influences from my family. Growing up in Rome, I spent my summers learning to draw and paint from my grandfather, and exploring gardens, parks, and the seaside. My mother was also very crafty. This nurturing environment, filled with beauty and creativity, led me to realize that fashion, specifically craftsmanship, was my true calling. Despite various challenges, including the persistent struggle to find paid work and the unrelenting hustle culture of the current fashion industry, my burning passion for fashion kept me driven.
How would you summate the story behind your graduate collection?
My graduate collection is a deeply personal narrative that draws inspiration from my childhood memories in Italy, as well as elements of nature such as mushrooms, molds, and the seaside. It’s an exploration of traditional garment construction, like the crinoline underskirt, reinterpreted in unconventional ways.
My designs incorporate historical references, including 19th-century French military uniforms and horse riding attire, blending these with natural embellishments and modern elements. The collection is a reflection of my personal journey and connection to nature, emphasizing the importance of structure and the interplay between hidden and visible layers in fashion, from garment construction to detailing.
How does your illustration work influence your design work? And vice versa? Is there an interplay?
Illustration and drawing have always been the foundation of my creative projects. Translating my imagination and ideas onto paper comes naturally to me, making it an essential part of my personal creative process. This practice not only brings my visions to life but also fuels further inspiration and innovation.
What was your experience post-graduation as fashion student looking for the next step?
Post-graduation, my journey was a punctuated with challenges especially when finding a job. My previous roles interning with Sinéad O’Dwyer and at the Viktor and Rolf atelier in Amsterdam, both of which were very important in shaping my understanding of haute couture and craftsmanship. These experiences highlighted the fast-paced nature of the industry and the need to constantly push creative boundaries. Despite the hurdles, these internships solidified my belief in the importance of craftsmanship and the joy of creating detailed, one of a kind, hand-embellished garments. Being in London further fueled my creative freedom, allowing me to connect with inspiring individuals and thrive in a vibrant, artistic community. A few months after graduation I finally started working at Robert Wun in the design team.
You recently finished you first season working with Robert Wun, how easy did you find it to integrate into this role?
I recently started working for Robert Wun and have been thoroughly enjoying my time here. The experience has been incredibly rewarding, especially after our first show. I find the environment to be the perfect place for growth, given my open-minded, hardworking, and curious nature. Although integrating and finding the right workflow initially posed challenges, I believe that when things are difficult, it often means they are the right fit for personal growth
What are your key reflections from your first season working with Robert Wun? Any nuggets of wisdom for designers starting out?
Reflecting on my first season, the most crucial lessons were those of patience, resilience, and trusting one’s instincts. Embracing vulnerability is key to producing the best creative work, and mastering the technical aspects of fashion design unlocks greater creative freedom. My advice to emerging designers would be to immerse themselves in the learning process, be endlessly curious, and appreciate the journey as much as the final result. Understanding garment construction is vital as it allows for more innovative designs.
Do you have any particular icons, or do you look to any iconic moments, to help shape your inspiration and creative work?
I don’t have a specific icon; instead, my inspiration comes from a wide range of sources. I am endlessly curious, often reading, visiting museums, consulting fashion archives, exploring shops, and studying fashion history books. My inspiration evolves constantly, always shifting and taking on new forms.
How do you feel about the state of fashion in 2024?
Fashion in 2024 is incredibly fast-paced, with fashion cycles turning over at an unsustainable rate. This relentless speed pressures designers to constantly produce new collections, often at the expense of creativity and craftsmanship. I hope that even in the world of haute couture, there will be a shift towards slowing down, allowing more time for meticulous craftsmanship and thoughtful design. Slower cycles would not only foster more sustainable practices but also enable designers to create more meaningful and enduring works of art.
Do you want to be an industry disruptor? How so?
Yes I will be, but it’s a long process and I am still planning things out on how exactly I will disrupt the industry. The journey ahead is still very long.
What can we expect from fashion in 2025?
In 2025, we can hopefully expect fashion to be increasingly shaped by sustainability, technology, and a commitment to diversity and inclusivity. The integration of technology will also continue to grow, with smart fabrics and wearable tech becoming more common, enhancing both functionality and interactivity in clothing. The industry is also expected to become more inclusive, offering a wider range of sizes, gender-neutral clothing, and culturally diverse styles to meet the demand for representation.
There is also a hopeful trend towards slowing down the pace of fashion. This involves a greater emphasis on craftsmanship, detail and thought innovation, rather than a rush to produce as amnay garments as possible in the shortest time. This shift encourages a more thoughtful and considered approach to design and production, focusing on quality and sustainability over production.
Interviewed by Hebe Street from GLITCH Magazine
Words by Susanna Pugliese
