1000 Ideas by 100 Fashion Designers

Aminaka Wilmont 41

008

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Inspired by the

conceptual work of

photographers Idris

Khan, Pau Ardid, and

Tim Walker, Aminaka

Wilmont’s F/W 09

collection is themed by

the notion of time. Its

style continually evokes

a sense of intimacy,

memories, and emotion

in the observer.

Luxurious fabrics

are used to re ect the

concepts that inspire

the clothes. Visually

challenging, colorful

graphics and digitally

enhanced prints capture

the transient theme of

its garments beautifully.

They are fond of details,

including laser-etched

vertebrae and intricate

Excella zip accessories,

which perfectly

fuse innovation and

design. With industry

affirmation (Fashion

Fringe), and continued

success with Net-

a-Porter, Aminaka

Wilmont is  rmly

established as one of

the fashion world’s most

interesting and creative

brands.

Aminaka Wilmont

www.aminakawilmont.com

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071 INSPIRATION. All of our collections

evolve around a theme that guides every

aspect within the collection.

072 M

USES. It differs from season

to season and depends on our mood and

direction–ultimately we think about “our”

woman in the form of a muse.

073 W

ORKPLACE. Our studio is small

and usually looks like a creative maelstrom

of samples and designs scattered all over.

We have 12 white mannequins in the studio

that are in constant use.

074 M

ATERIALS. We evaluate what

we need the fabric to do for the design to

work in the best possible way and make

the selection thereafter. We source from

everywhere around the globe but usually

end up using materials from UK or Asia.

075 T

RADITIONAL MANUFACTURING VS.

EXPERIMENTATION. Experimentation–

without a doubt! To have a representative

item that people can associate the collection

with and remember it by is a useful tool.

42 1,000 Ideas by 100 Fashion Designers

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Aminaka Wilmont 43

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080

C

OMMUNICATION STRATEGY. Be unashamed

of who you are.

076 STYLE. Self-con dence, sensuality,

and power.

077 EVOLUTION. Hard to say. You learn

from your mistakes and successes.

078 IS FA SHION ART? Yes–but art you

can wear.

079 STREET FASHION VS. FASHION

DESIGNER. I am not sure I understand

the difference. Designers pick up their

inspiration from the streets and the general

feel of the time.

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081 INSPIRATION. The most important

thing is to work with an idea that brings the

entire team together in the same direction.

082 R

EFERENCES. During the design

process I try to release myself and keep

my mind clear so that the design will be

cleaner. A designer should have powers

of observation. There are many visual

and sensorial resources: music, art,

photography, reading, curiosity for other

cultures, and nature. I’ve always had an

image in my head: the yellow featured in

Thomas Mann’s novels.

083 W

ORKPLACE. I work with a model

who normally comes to try on my clothes.

My table is simple, uncluttered, and clean.

084 M

ATERIALS. I frequently travel

with my team to Milan and Paris. They are

two ideal places to choose the most ideal

fabrics and other materials.

085 C

OLORS. Color is the poetry of a

dress.

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Antonio Miró 45

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087 YOUR RIGHT ARM? My right hand is,

of course, Gabriel González. He’s always

been with me. He’s my support and the

person I trust with all parts of the business.

088 B

RAND VA L U E S . My label promises

nothing. But I’m satis ed if wearing my

clothes makes people feel good.

089 P

HILOSOPHY. By de nition, fashion

is democratic because it spreads.

090 ADVICE. My father told me one

day, “half of life is dirtiness and the other

half is cleanliness.” Remembering this

has balanced me. You should never stop

working out of love and humility, and keep

in mind that it’s a luxury to see people

comfortably wearing the clothes that you

have thought up.

086

M

ANUFACTURING VS

ESPERIMENTATION.

Experimentation requires

tradition. The signature piece isn’t

looked for, it normally appears.

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