Sarah Richards: Meeting the Design Talent Behind RICHARDS
She interned at 15 and made the rest of us question our teenage choices. Sarah Richards talks production, digital distortion and her love of ocean trench renderings.
She thrilled us with rich greens and mixed jungle prints. And we've been following her since she popped up on Opening Ceremony's blog. Native New Yorker and fashion girl genius (she interned with Peter Som at the ripe age of 15), Sarah Richards is a designer everyone's been looking out for since she busted on the scene and made us wonder what the hell we were doing our junior year in high school.
So we jumped at the chance to sit down with her and talk about her eponymous line RICHARDS, to talk history, Opening Ceremony and Proenza Schouler, new collections and current obsessions.
When did you know that being a fashion designer was something that you wanted to do?
The obsession started when I was about 6. I studied design with junior classes at Parsons and FIT, and started interning at 15 in NYC, where I grew up. It was not until after graduating from RISD that I considered starting my own line.
Having worked for both Proenza Schouler and Opening Ceremony, what were some of the takeaways for you from those experiences? How did you apply what you learned while interning to what you're creating now?
I have found that the most valuable takeaway from a fashion internship in New York is a closer look and deeper understanding of production. This includes the process of sourcing bulk fabric, pattern grading, sample development, trim packs, etc. The experience of communicating with factories and vendors is not something taught in school, but it is a huge part of running a fashion line.
When was the moment that you decided to go off on your own? What was that like? What were some of the obstacles that you faced?
I decided to start my own line after having freelanced for other designers for about a year after graduation. I felt a strong urge to create for myself and get back to the themes I touched on in my thesis. I started very small, so each season I have tried to expand in some way. The greatest obstacle has always been financing the line.
What is your process like? How do you start the process of designing your next collection?
I research source imagery, take a lot of notes, and sketch. I do almost everything on the computer. When the collection and prints are designed, I move on to the hands-on stage of pattern and sample development.
Has your design process and point of view changed since your first collection? How so? What was your biggest learning lesson?
I believe my point of view has stayed the same. I started with basic shirting styles on silk and have since worked to develop a wider range of silhouettes and fabrications. I am always looking to work with new fabrics and expand the wardrobe. It is only a matter of putting the time into developing these things until they are just right.
Tell us the inspiration behind your FW 2014 collection.
I don't work from a starting point or inspiration exactly. For FW 2014, I was experimenting a bit with digital distortion, which created both the prismatic prints and optical mesh prints.
“The mood is something like a surreal seascape. I try to create a visual story that creates a mood as opposed to a statement.”
Graphic prints of nature are such a strong identifying feature in your work. Tell us the process. How do you decide which print to use?
Natural imagery has always been striking to me in the context of digital printed fabric. I think I am attracted to the contrast between natural and manmade. In terms of choosing prints and images, I really try to go with my gut.
A few pop artists come to mind when looking at your prints. Are there any artists, collage or otherwise, that your prints are inspired by?
Not any specific artist, but I am inspired by the new aesthetics of contemporary artists. I see myself as part of a greater dialogue that is informed by current moods and interests.
What advice would you give to aspiring fashion designers?
Study textiles and construction. They go hand-in-hand with design.
And last, but not least, what are you currently obsessing over?
Today, I am obsessed with 3D renderings of ocean trenches!
From the MO print archive: this interview first ran in The Supernatural Issue of Meets Obsession Magazine, when RICHARDS had just shown its Fall/Winter 2014 collection. We're running it as it first appeared.
- Words: Sinta Jimenez
- Photos: Courtesy photo
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