1000 Ideas by 100 Fashion Designers

Tracey Mitchell, Leigh Mitchell/Dahlia 287

090

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The story begins

with two devoted

sisters: Tracey and

Leigh Mitchell. Both

coming from fashion

backgrounds, they

made the decision to

stray from the high-

street path and do

their own thing: that’s

when Dahlia was born.

Blossoming out of

London’s Portobello

Market, the brand

rapidly became an

essential stop-off

point for fashionistas

and celebrities alike.

Collections developed

and grew with a

distinctive style that

was innovative, quirky,

and girly. Proud of

their roots, the unique

clothing and statement

accessories have a real

British twist to them

that play on traditional

pieces, cleverly cut

with fabulous prints

and bespoke detailing.

Styling mixes retro

eras and trend-led

inspirations to give

Dahlia a real modern,

eccentric feel that

de nes a look for a new

generation of fashion

devotees.

Tracey Mitchell, Leigh Mitchell/Dahlia

www.dahliafashion.co.uk

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895

S

TYLE. We want to encourage

women to have fun with

fashion and feel special in

their out ts.

891 REFERENCES. I think about the

silhouette I want to create  rst, then I

work on the  ner details. I imagine how the

fabric will drape and how the shape will

work on the body.

892 C

OLORS. I try to pick the color that

represents the design best, but always

thinking about whether it is  attering on

skin tones.

893 I

NDIVIDUALITY VS. GROUP BELONGING.

Individuality. Dahlia designs are

inspirational and the attention to detail

makes them unique.

894 B

RAND VA L U E S . Unique, gorgeous,

and lovingly-designed clothing that have

lots of personality.

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896 EVOLUTION. I review the collection

each season and learn from past mistakes.

897 STREET FASHION VS. FASHION

DESIGNER. Being based in London, it

de nitely comes from the street.

898 A

DVICE. Trust your instincts and

don’t believe everything you’re told.

899 GOOD HABITS. Be very

conscientious and make your ideas happen!

900 ACKNOWLEDGEMENT. Seeing Dahlia

clothes being worn and hearing others

compliment the wearer.

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© Marc Castellet

901 INSPIRATION. When I begin a new

collection, I think up an idea as a starting

point and I work it through with my

feelings to guide me.

902 D

EVELOPING A COLLECTION. In order

to transfer the idea of the collection to each

piece I work mainly with patterns and

fabrics.

903 M

ATERIALS. I choose the fabric that

 ts the collection I’m preparing. I mainly

look at weight, body, texture, and quality.

More than anything, I’m interested in

shapes, so I generally work with non-color–

black or white.

904 M

ANUFACTURING. A piece becomes

a signature of the house unintentionally,

although over time this symbol changes.

905 B

RAND VA L U E S . The people

who wear my clothes do so to feel like

themselves. I think my label offers

individuality and design.

290 1,000 Ideas by 100 Fashion Designers

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Txell Miras 291

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© Mirella Miras

© Marc Castellet

907 COMMUNICATION. Txell Miras has

her own discourse and is willing to share it.

908 A

DVICE. Beyond the purely

academic side, it’s essential to work hard

and be passionate.

909 G

OOD HABITS. Designers need to

keep their eyes and minds wide open while

upholding demanding standards and being

true to their own personalities.

910 A

CKNOWLEDGEMENT. The best

applause is the satisfaction of a job well

done and the good response of the people

you trust the most.

906

E

VOLUTION. In a way, I feel I have

to outdo myself every six months,

but, at the same time, I have

quite a de ned style and I don’t

like to throw away ideas I think

are valid. Sometimes I keep on

developing them to reach another

point.

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