Born in Marche Italy in 1987, Micol Ragni is a daughter of a Musician, growing up in musical environment she says greatly influenced her and by the age of 5 she had both learned and was regularly playing the Piano and the Chelo. Though she had enjoyed playing music by the age of 14 Micol had realised that she found it hard to perform music in public and would gradually stop the playing and the making of music all together and began to embark on the making of clothes.
At the age of 20 Micol moved to the UK to study fashion and design at the University of Creative Arts where she would graduate and later work under the likes of Julien Mcdonald, Louise Goldin, and Christopher Kane. During 2011 and 2013 Micol’s passion for Music and Fashion converged as a costume designer for many artist notably Tori Amos, The Puppini Sisters and Maria Monte.
In 2013 Micol started her own collection…
-How do you connect to your patterns?
The first time I got to learn what pattern cutting is was at high school in Italy where they taught us how to make patterns from the body measurements. I remember being particularly fascinated by how the body is broken down into numbers and it is transformed into basic 2D geometric shapes.
And I found astonishing the way a 2D pattern is built around the body measures to create a new 3D structure that eventually becomes a wearable garment.
I got so interested into pattern making that soon became an obsession and I spent most of my years at uni developing new pattern making and draping techniques and studying the construction of other designers’ garments, especially Japanese designers such as Yohji Yamamoto, Rei Kawakubo, Issey Miyake and European designers such as Balenciaga, Vionnet, Dior and Capucci.
Creative pattern cutting is definitely not an easy way to design but it really feel like a sort of magic watching 2D shapes turning into volumes as if they are coming alive.
It is a process that never stops to surprise me and to provide that sense that something brand new is happening. I am intrigued by the complexity of it and I do not care how long it takes to make one design as long as I feel I exploited the full potential of a volume.
After previously doing costume design, do you feel there is a difference in the design process and if so, what is it?
Costume design is about creating an outfit for a character and it starts with designing the identity of the character rather than the costume. It is about understanding the cultural and historical background of the character and the type of role he/she is going to act. Therefore designing a costume is mainly about researching into the past and finding references to take inspiration from.
When I started with my own label I decided that I wanted to take distance from that approach and that I was going to find a way to create an aesthetic that goes beyond time frames and cultural references and that can be understood and appreciated by people coming from the most diverse cultural backgrounds.