INTERVIEW BY GEMMA WINTER
The lift stops at the third floor and I step out, palms covered in a sickly sweet combination of hairspray and sweat. To my right sit a stack of awkwardly placed retro television sets; which are positioned to look like amps. Playing in synchronisation is Super 8 footage of The Kills performing ‘Wait’; transfixed it evokes the grainy archive footage of The Velvet Underground. After a few moments I slowly approach the exhibit entrance, my throat feels dry and the gallery desolate. At the end of the exhibition space I spot several metallic cubes against a three sided foil covered wall. Immediately I know it’s a Gareth Pugh, echoing his avant-garde silhouettes. A gentle breeze emanates from the sculpture; I figure this is my chance to feel the artwork. I gently stroke one of the cubes, and decide to check out the other floors. After a slice of chocolate cake and a bottle of super strength beer I feel confident, first on my list is Gareth Pugh.
P - Hieronymus Bosch? I’ve never heard of him….
W – He’s a Dutch painter was quite influential on New Romantics.
P – Oh … For me it’s the whole collaboration aspect of what he did. The fact he produced a massive volume of work that was a product of an environment. I think that to me is quite an interesting thing, because I can only be a one-man band for a certain amount of time. Being able to do everything kind of annoys me and to have a big team that are able and ready to do everything. I aspire to have that because if I did I could do a lot more.
W – you’ve collaborated with the Sunderland Glass Centre in the past
P – Yeah, that piece is from the Glass Centre, I made it for them. Warhol did a whole exhibition in a similar vein using silver pillow balloons, and that seemed perfect for the exhibition.
W - You’ve also collaborated with Judy Blame, how did that come about?
P- I met Judy a long time ago when I was working for Jane Masqueray on shows, and I was assisting Judy on the styling. He really appreciated what I do and saw a lot of references to what he did when he was starting out. I wasn’t just necessarily doing clothes because I wanted to be a fashion designer; just doing something I really love doing and that’s the same thing he’s done. He hasn’t stopped doing it, he could have very well had everything he does made in China. Everything he does he makes in his living room, and it’s all very lovingly put together. I don’t particularly want to be stuck behind a sewing machine for the rest of my life; it’s very admirable for him to get up in the morning and do it.
W – I heard that you are designing for Topshop or Topman?
P – That rumour has been going around for a while! No I don’t.
W – Well hopefully now I can dispel the myth your working for Topshop!
P – Laughing
W – You haven’t sold anything since your one offs to Kokon to Zai?
P – Well we’ve started to sell my catwalk stuff from my last show. That was the first season we ever sold anything.
W – Are you selling to Japan?
P - Well we’ve got shops in New York, L.A., Paris, London, Germany, Italy, China and Japan. So hopefully we’ll grow, at the moment I sell through a showroom in Paris and all of the clothes are made in a factory in Italy. So it’s very much out of my hands, I’m really pleased about that.
W – A lot of your inspiration comes from Sunderland; what is it about your home town that you still find so appealing?
P – Well, I don’t think it’s something that I necessarily find appealing. I feel like I can’t help the fact everything that I do has a link to who I am. I’ve lived in Sunderland for such a long time it’s second nature to me to reference that. When you pick it apart you can always draw comparisons to where I come from; it’s quite autobiographical in that sense.
W – How did you feel about being kicked off ‘The Fashion House’ for being too weird?
P – For being too weird! That was fine by me, by the time we got to Rome, we realized what it was going to be. I wasn’t really impressed with that whole episode. I was told it would be very much about the work of the designers in the studio and the creative process. It turned out there’s cameras in the bedrooms and the stories of how the designers interacted with each other. That was the dangerous aspect for me, which set it apart from a naff version of Big Brother. So to be honest with you I wasn’t wanting to stay there anyway so I wanted to leave.
W – It was put forward to you that it going to be a modern day Clothes Show.
P – Exactly! It was something a lot different than what it was supposed to be.
W – Have you seen the new series of The Clothes Show?
P – It’s nothing like what I remember, it’s more like Trinny and Susannah.
W – Anna Wintour is one of your notable supporters. How did you feel when she came backstage after your show?
P – Erm, I wouldn’t really say she’s a supporter she’s only been to one of my shows. She’s a famous person she’s got a lot of influence. But there’s a lot more people I appreciate more than her that have supported me for a long time. Like Judy, Katie Grand, they are the people who’ve helped me a lot and the ones who mean more to me than the world.
W – I really liked your i-D collaboration with Nick Knight that was based on Carrie….
P – Thank you - things like that, if they still maintain their support then I’m happy!
DAZED & CONFUSED V ANDY WARHOL
From 16th May – 2nd September - FREE ENTRY
Monday - Sunday 10.00 - 18.00
BALTIC Centre for Contemporary Art
Gateshead Quays,
South Shore Road,
Gateshead.
www.balticmill.com/whatsOn/present/ExhibitionDetail
www.dazeddigital.com / www.myspace.com/garethpugh
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