Monday, November 30, 2009

ASDF Interviews -- Raquel Garcia


Raquel Garcia is a fashion stylist that has a true visionary perspective on the ideal image of the progressive fashion concept. She evokes the mood of a cool sensual spirit in her work, and manages to show the model as an extension of the garment she has styled. From her works with Nick Knights' SHOWstudio where only a chosen few have the opportunity to exhibit their talents in the film medium and push their artistic capabilities. To now the Fashion Editor- At Large for Metal Magazine, she continues to set the standards for stylists, and is not afraid of taking risks and running with it.

ASDF: How did you get your start in the fashion industry?

RG: I had my first experience in fashion in my hometown, Madrid. When I came to London I worked during two years as a first assistant for a Fashion Editor.

It was a very intense experience and I learned how to deal with different aspects from the industry , for example , some of the political aspects I was not aware before.

ASDF: Stylists based in Europe seem to be more creatively daring in terms of conceptualized editorials. Do you think it has to do with more creative freedom? If not, what may be the reason?

RG: I think they found more creative freedom, London is open to new people and to experiment new ideas. I think that's what the most iconic magazines in London are all about.

ASDF: What is your creative process while preparing for a shoot?

RG: I guess I just see something that clicks in my mind and inspires me to do a shooting. After that, research may help me to find all the elements that I think are necessary for the story… and create some special pieces if I need them to create the right mood.

ASDF: Have there been shoots difficult to style due to an unclear direction for a "Job"?

RG: Not really, I usually have very good communication with the photographers I work with, and we usually find the direction we want to go together , so I’ve never found myself in that situation.

ASDF: Some stylists' work become redundant and lack true, rich inspiration. You are really good about steering clear from that. How do you manage to have a fresh perspective and deliver great looks?

RG: I never thought about that before, I guess it’s the natural way for me…I think it’s about the stylists’ personal taste.

ASDF: Are their stylists/peers that you admire?

RG: Of course. There are stylists who I admire because of their personal and precise vision of fashion beyond every seasonal trend, because they visualize a woman you can recognize instantly.

ASDF: What shoots have been your favorite in terms of the end result?

RG: All shooting has is it's own story so it's difficult to say a favorite one… the energy on the set with the team you are working with is very important and I can definitely feel it in the end result… so I can tell you my favorites shoots are the ones in which all the teams involved had fun on set or location and that I had a special connection with the photographer.

ASDF: When applying a certain inspiration to your work, is it usually a literal translation or certain aspects that you take from it to produce a look?

RG: Certain aspects and little bits. I just apply details which I like and think can work for the story.

ASDF: What formats do you usually style for? (magazines, runway, etc)

RG: Magazines, Film, runway and consulting.. I enjoy every format and the different aspects of them.

At the moment I took the position of Fashion editor at large of Metal Magazine and it's very exciting. Metal is a beautiful magazine with offices in London, Paris, NY and Barcelona, so there are great teams collaborating in all these different cities that make it quite eclectic. It’s a magazine which allows you to experiment and to do creative shooting.

I especially like to work with designer Emilio de la Morena. I have been consulting and styling his shows during London Fashion Week for the last 3 seasons. I love to work closely with Emilio. We have a very good connection and a very similar aesthetic. Sometimes different points of views but a great dialogue and that mix works.

ASDF: How would you describe a challenging shoot

RG: Shooting summer clothes when it’s freezing cold outside and raining can be quite challenging!

ASDF: How important is the models presence when trying to convey a mood that the
garments can't translate alone?

RG: I love casting! For me it’s a very important part of my job and I love to see all the new girls. I think the models can be as important as the clothes. I like a certain kind of woman and I think that can be seen clearly in my work, so finding the right girl who can translate what you have in mind is essential.

ASDF: You have worked with Nick Knight's SHOWstudio. How was that experience?

RG: To do a fashion film was a new experience for me. It’s very interesting to experiment in different areas. You are involved in finding the music appropriate for the video, editing, and more.

It was great to collaborate with Showstudio. The first time we did a fashion film, we had that opportunity because of the project Future Tense.

Looks like fashion films are having a great importance right now, everyone is very interested in doing some, and it’s nice see the ideas of movement! So different to do shootings.

ASDF: Is there anyone that you would like to collaborate with?

RG: Yes, sure, I would like to collaborate with different people, photographers and designers. Of course there are people you find great and you would love to collaborate with. It’s a very valuable experience to work with people you admire.

ASDF: What aesthetic elements should aspiring stylists understand before establishing their portfolio?

RG: I think they should try to understand, to find their own aesthetics and believing in it, without looking at what everyone else is doing. And not be afraid in their creative decisions or to take risks.


Photographers: John Lindquist, Jonathan Hallam, Mari Sarai, Kai Z Feng, David Dunan, Miguel Reveriego, Emilio de la Moreno (Fashion Week)

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