From friendship to full on fierce, Xsenia and Olya have established an undeniably feminine aesthetic with a twist. Garments that spellbind, twist and turn around the body plays with the senses and dramatises a look into something more than just ‘a dress.’ This digital dedication is an enchanting modern take on everyday glamour, and Spindle chatted to the friendship powerhouse to find out more about their intoxicating storm…
“We definitely do – in fact for this collection, both of us were inspired by different things. Xsenia had a fascination with knitting patterns and Olya with the movement of light. When we started playing around with the raw photographs we were struck at how stunning the combination of the two was. We love the idea of morphing two ideas together that are not necessarily associated with each other but work together.”
The dresses look to be a fusion of futuristic with an eclectic 70s feel. Would you agree?
“We do – but this was not at all what we intended from the beginning and it again leads back to that idea of morphing two diverse ideas together to create something unexpected.”
Do you think it’s important for an outfit to ‘play with the senses’ rather than being ‘expected’?
“Yes definitely. We use a draping technique when designing to see how the fabric sits on the body, taking into account the feel of the fabric, the movement and the print. Most of our pieces can be styled in several different ways depending on your mood”
Is this a collection that can be worn by anyone, or have you got a particular market?
“Women who are independent, open-minded and fun. The stretch silk & stretch wool fabrics that we use make the pieces incredibly comfortable and flattering on a variety of figures, so really they can be worn by anyone aged 18 – 60!”
What’s next for you?
“We recently showed at Vancouver Fashion week and had a great response there – so we’re looking to continue establishing our brand and the reputation of innovative British designers on the West Coast – Vancouver, LA and Hollywood…of course!”
Words: Charles Matthews