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On an increasingly crowded high street and in an industry that is moving at a pace fewer designers are able to maintain, the pressure on designers has never been greater than it is at this moment. How then can we expect the creative who clothe us to keep up with the rigours of their field, while producing new ideas that not only innovate, but excite and incite us to part with our money? In Australia to support the launch of the COS Sydney flagship in Martin Place, head of womenswear Karin Gustaffson sat down with GRAZIA Australia to discuss techniques for winning the high street race.
It almost goes without saying that the high street has become crowded beyond belief these days. How then do make a statement that is heard above the din? What is the COS point of difference? “I think that we have quite an understated aesthetic that is also modern. We like to work with new finishes and fabrics that are really interesting yet contribute to a timeless style. We think a lot about functionality in peoples’ wardrobes – the styles are intended to feel like everyday styles that you buy as a long-term investment, even though it’s not really an investment [financially].”
You now have 140 stores in 27 countries. How do you maintain a clear and consistent point of view when considering so many different customers? “We produce one collection everywhere, and it doesn’t change [except for smaller sizing in the Asian market]. The collection here is bought in another way to suit the Australian lifestyle but we really think our customers are international and culturally aware – someone who appreciates good design and a timeless aesthetic. “
Each season you draw from disparate influences across art, architecture and design to produce a cohesive offering across both lines. How do you see your latest influences – including the French documentary photographer Vincent Fournier – infiltrating this collection? “We always do a lot of research throught the year, and then Martin [Andersson, head of menswear at COS] and I work closely together to establish the direction. We designate a few weeks to research, then make stories out of the things we have seen that grab us. Another one of our starting points this season was [Sri Lankan architect] Geoffrey Bawa’s work. His architecture was created in the 1960s and has a very similar aesthetic to mid-century Scandinavian architecture. Then we look at the technical elements from the research process, and you end up with elements inspired by technical scuba diving and sportswear references.”
Who have you looked to for support and inspiration in your personal and professional development? “I’ve always looked to Coco Chanel for inspiration because I think working with fabrics straight on the dress stand is a really good way not only of knowing what you’re after but of creating things that you haven’t seen. She never used to draw, and instead would drape fabric straight on the stand. It’s more expressive and can often lead to accidents, which lead to more interesting elements.”
