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Gabriel Vielma is someone who precisely tailors his clothing for the contemporary woman. Glass speaks to the Chilean interior design graduate, educated at the Instituto Europeo de Design in Madrid and London’s Central St Martins, about his day-to-day design process and about the extent to which his dedication to detail dictates his craftsmanship. He may have come along way since the days of glassmaking, ceramics and also a short stint studying millinery in Paris but Vielma’s practical realisation of his designs brings to life vivid hues, textures and forms that ground Vielma London in quality design.
As a designer, you’ve been described as designing for a strong, confident woman who likes to be the leader of the pack. What kind of man would you describe yourself as in comparison though?
Like the Vielma woman I have confidence in my ideas, but like her too I’m always evolving, always looking for something new. As a creative director I have to reinvent myself every few months but I don’t just work alone, I have to bring my team with me to explore every new project and bring it to fruition, so yes we have a lot in common.
What makes you want to design clothing for this kind of woman?
Whenever I meet the Vielma woman I feel we have so much in common in our way of thinking and looking at the world that I feel inspired.
Is there something of a hope for woman taking a stand for their rights, however varied they may be, in your design philosophy?
Hope isn’t a word the Vielma woman uses much. She acknowledges it hasn’t always been this way but she takes her position in the world for granted and just gets on with her life. Taking a stand implies a confidence in what you believe – that’s also the essence of the Vielma woman.
How do you find you can most successfully channel this agenda into your designs?
I draw and draw and draw, and when I’m happy with the result it becomes the signature of my new collection as a print, or embroidery, or some other embellishment. I like to play with opposites too – classic textiles like silk and organza mixed with new technical fabrics. The same with shapes and cuts too, combining classic and edgy.
Many designers come from a architecture backdrop, you however came from aspects of craft and design that included glassmaking and ceramics. What spurred you to transition into fashion design?
I was always interested in fashion but when I started studying it wasn’t treated as a serious discipline like industrial design. Moving to London opened my eyes – fashion design here isn’t just regarded as a serious study but a serious business too. There were so many options to increase my skills and knowledge and turn them into something real. The deeper I got into fashion design the more I found it suited the way I think and work – very fast-changing, constant innovation. Plus clothes change shape as they move, unlike glass and ceramics.
It’s clear however that craft is important to you in whatever form. Where did you hone your eye for crafting excellence in terms of education?
When I was little I couldn’t even draw a circle. It was so frustrating when I had so many ideas in my head. People thought I was odd and I’d be embarrassed when I was in art class with the other kids. One day I decided I could fix that if I took art as seriously as other kids took maths, so I just sat down and practised day and night. As my technique evolved my eye developed just through observing and then drawing or painting.
What did your time there teach you?
When I started studying design I had so many ideas and could express them in 2D. What I learnt was the process of design, how to get from the idea to the product, using all my existing skills to the maximum, researching and learning new techniques and materials, channelling everything into creating the physical representation of what was in my head.
Training in the applied art of fashion design has taken you from Madrid to France and now sees you based in London, correct? What did you take from your time seeing all that fashion has to offer in Europe?
Every place I’ve been, in Europe and outside, I’ve seen and learnt new things.
In your opinion, where would you say is the world’s fashion capital in 2014?
Every country has something different. The leading fashion centres like Paris, London, Milan and New York all have their own public and their own culture. London is unique because it is so open. People come here from all over and wherever you come from you feel at home. You can start your fashion business in a day, and as you grow there are so many people who will go out of their way to help you, whether it’s all the government support to develop your production skills and sell abroad or the shops that focus exclusively on upcoming designers. London is without doubt the international shop window for new designers.
Moving back to London, what would you say it contributes to the fashion industry?
London welcomes you and nurtures you. If you have talent, starting in London anything is possible.
Finally, whereabouts do you see yourself in 10 years’ time?
More mature but without losing my edge, working harder than ever, bringing together everything I’ve learnt in design across the field but with a fashion-focused eye. There will be Vielma man as well as woman, furniture and fabrics as well as clothes, treats for the nose as well as the eye.
by Liam Feltham
Images courtesy of Vielma London, to see more go here.