Man of the Cloth

William Tempest's New York debut is Monday morning. Before the talented British designer's creations hits the runway, PAPER market director Luigi Tadini had the chance to sit down with the young up-and-comer. Read on to hear about Tempest partying with Donatella Versace, his thoughts on waify models and get a sneak peek at his  spring collection.  

Was your family involved in fashion at all? Where did your passion come from?

When I was about three, I have this very vivid memory from a wedding my family attended. I remember my mum and family members really dressed up for the occasion - really different than usual. I used to love dressing up when I was little and would put on different costumes in my sister's closet. So I've always been quite experimental with my identity, I guess. It was when I was in high school that I decided I wanted to go into fashion. When I was about fourteen, I read a John Galliano biography and did an art project based on it. I think that is when I decided as a young adult to go into fashion.

At 16 you enrolled in a two-year national diploma course for fashion and textile?

I left school when I was 16, which was quite a big thing for my family, especially because I was very academic. I think they were just very worried about the risk I was taking. But I absolutely didn't want to do anything else. At 16 I moved to London to study fashion.

It must have been a complete change for you.

Yes, it certainly was. I had gone to an all-boys' school all my life and then all of a sudden I was surrounded by girls. Most of my classmates were girls and it was quite an adjustment.

While you were at school you were interning for Giles Deacon. How was that experience? Your dresses are known for their structure and angular shapes. Was working for him where you learned the basics of pattern making?

When I was 18 I moved to London to start my degree. My first year teacher actually worked with Giles as well as his assistant designer. I got along with her quite well and that's how I managed to start my internship there. I did a ten-week internship and it turned into a full -ime job. I was there for four seasons throughout my degree. At Giles I assisted a guy called Darren Gander. He taught me a lot about pattern cutting and the technical side of production. I also learned the other side of it, the operating business side of the industry. This was quite early on when Giles first started.

You couldn't have asked for a better first experience.

Even more important then a degree in fashion is to get that hands-on experience as early as possible.

You also did a couple of curious projects while in school. You freelanced at Diesel and even designed window displays for the opening of their Flagship in London. You're quite a renaissance man.

That was just after I graduated actually. They contacted me to design the windows for their new flagship store in London.  It was quite scary, as I had never really done anything like that before. It was really good fun and I kind based it on the inspiration behind my graduate collection.  We went for a futuristic take on the burlesque and created these origami robots. It really explored all the origami-esque, construction side of my work.

Your graduate collection was based on the noir films of the 1940s and it was selected to be exhibited at the Royal Academy of Art and at the Concert for Diana at Wembley Stadium. That's a huge audience.

It was an amazing and unexpected experience. The Academy of Arts did a fashion show with several graduate students and it helped get the collection shown. It was very exciting. It actually led to my job in Paris. Someone from Jean-Charles de Castelbajac's company was there and gave me my position at their company.

You were 21 at the time, so you packed your bags and moved to Paris?

Exactly. And I was designing the women's ready-to-wear collection with Jean-Charles Casetlbajac.

Castelbajac has a very avant-garde approach to design. How did that influence you work?

It was great working there because you could let you creativity loose and get crazy. I believe the biggest impact on me was to really stay true to your vision and aesthetic. There is a lot of work and effort that goes behind creating these collections so they really need to speak to your personal identity. You need to believe in them.

When do you think your design aesthetic started to shine through?

I think I was influenced by everything. My granddad used to be a structural engineer, so when I was little I used to see his precise technical drawings and I really think that was the biggest influence in my structured work. I like to play with a very feminine foundation - the natural curves of a woman.

So what are your thoughts on waify models that lack all the natural, feminine curves?

I design clothes for real women. I focus on construction and quality and produce a lot of internal corsetry to smooth out any problem areas. I design them to empower, highlight their qualities and make them feel sexy.

Was your stay in Paris influential in your decision to return and create your own label?

It was actually. When I was working at Giles, I learned everything you could about running the business and at Castelbajac; he really encouraged me to do what I wanted creatively. The marriage of the two planted the seed for my own brand. I entered the Fashion Fringe, London Fashion Week's showcase for new designers, at theConvent Garden competition, which was judged by Donatella Versace. It gave me chance to show my first collection.

Did you get a chance to meet her?

Yes, she was lovely. She actually just flew me out to Milan to attend her menswear show. We had a big party! It was one of those moments you never forget.

In February 2009, you won the Vauxhall Fashion Scout Merit Award.

In London they have this award that sponsors a young designer for three seasons. That was really invaluable in allowing me to continue my work. I knew I would have the space and everything in place to show in the next season.

How was the experience of showing your first solo show at London Fashion Week?

It was rather quite scary. It was only like three seasons ago but it feels like it has been ages. Back then it was just a few interns and me. It was absolutely insane. We produced a lot of the collection in my apartment.  I didn't have a great setup back then. It was exciting to see my first full collection come to life and see the reaction we got.

You received rave reviews. You were compared to a young McQueen...

It was really great! I felt like the industry really supported me from the start.

Who was the first celebrity who sported your clothes?

It was Emma Watson. I met her when she came to my first show. We kept in touch since. It was shortly after that she decided to wear one of my pieces. She wore my dress to a premiere of one of her films. To see the dress being worn and appreciated is highly gratifying. That was the first time I saw a celebrity wear anything of mine. The next day, I went through all the newspapers and seeing a photo of her sporting one of my pieces was very thrilling.

Your collections have really unique names: Tropical Deco, A View to Kill, The Siren's Song. Are they an immediate reference to your inspirations?

Yes. This season is called the Siren's Songs because I've been looking to a lot of pre-Raphaelite paintings and quite a few of them depict the sea and the siren, the half woman half sea creature figure. I really like that enchanting mythology. That is the whole inspiration this season, a woman who is a powerful enchantress.

So your geometry is turning a bit softer - a more fluid approach silhouette made of chiffon and ethereal material?

Definitely, this season I've decided to do something else. I've used quite a bit of softer fabrics on top of the structured fabric. There is still the signature structural identity. My inspiration is from the sea, so the idea of waves is very organic and soft. But also in the sea you have the shells - I've paid a lot of attention to their structures - and played on that theme. 

Are you bringing back any of your recognizable prints. I've always loved the refraction prints that remind me of lightning in a tempest, if you will.

Yes, there are a few prints. First there are a few drawings of sirens that I've created. Three different nymphs. There is a watered marbled print that I developed that is very fluid and white.

Do you have a hard time delegating?

It is quite tricky. Especially when things go wrong. It is something important I should learn. I work with a really good team of seamstress and their knowledge are invaluable to me in many ways.

Do you have any habits before a show?

I kind of hide! Last season, I hid for about ten minutes. I had to pull myself together and take everything in before the show started.  I don't even do very much at the show; I kinda stand there and watch all the people working. So I try to remove myself from it for a bit.

Are you nervous about showing your collection stateside for the first time?

I'm a little bit nervous but, really, I'm super excited! It should be really good.