Sitting across from Antonina Izmaylova-Gam, it is challenging to ignore her profound sense of serenity; it permeates the room, softening disarray with gentle persuasion. Despite the constant flurry of meetings, appointments and travels which govern her schedule, Antonina is a calm creative force.  Unfazed by the duality of her responsibilities, as creative director and business woman, she has nurtured the label which bears her name with poise and confidence.  The Central Saint Martins alumnus discusses history, the colour black and Izmaylova’s contribution to “Made in England.”
 

Antonina, inspiration is normally derived from the past – why is this?

I think most of us are intrigued by the past.  What it was like to live in a time other than our own.  There is a certain charisma and romance to history.  As a child I would spend hour upon hour in art galleries or wandering the halls of Catherine’s Palace lost in thought.  Tracing the gold, baroque mouldings with my fingers.  History is a dream world.  It profoundly influences the way I design.

 
Would you say the past is more inspiring than the present ?

The past is easier to understand because we can reflect upon it; we don’t have this luxury in the present day because we are in it.  But inspiration can come from anywhere or anything.

Do you actively seek out inspiration ?

There are particular things in history that constantly inspire me.  Moments in time.  Places or buildings.  I consider these ongoing inspirations that can be found in every collection.

Such as?

The 1920s.  It was bold and revolutionary.  At times, decadent.  I love how the garments complimented the natural curve of the female form, rather than aggressively accentuating or restraining it.  They were free flowing.  The emancipation they enabled – the incredible freedom which I believe paved the way for ongoing innovation in design but also the challenging of conventions.  What is considered feminine or masculine.

Other times, inspiration finds you?

Yes, inspiration can arrive at anytime.  Catalyzed by anything.  It is a journey.  You never know how it will happen.  It is a very organic process; it can evolve from the most unlikely and ordinary sources, entice any of the senses, or peaks your curiosity like how ostrich feathers move.

There is an element of design that is less spontaneous or creative, the moment when inspiration is made into something practical.

The first object I designed was not a garment but a piece of furniture inspired by the Surrealist movement.  A chair with integrated book shelves.  I am constantly inspired by other design disciplines like architecture.  The precision.  The process of designing and creating a beautiful building also applies to tailoring a perfect garment.

When creativity meets practicality.

Yes.  The garment begins with a thought, a concept or a feeling.  The thought is then captured with a sketch, from this moment the most interesting part begins - when a two dimensional idea becomes a three dimensional creation with a purpose.  When the creator meets the conceiver.  The pattern helps it achieve ultimate perfection, sometimes this is also where the process stops.  When an idea remains just that.

Creativity that cannot be captured?

Sometimes an idea is just not possible.  It is a part of the process, like sketching.  It can take hundreds of sketches before you get it right and feel totally in love.

Architecture is very permanent, whereas clothing is very temporary.

It is easy to assume this, but it is not true.  I think to a certain extent, most designers want their collections to be timeless.  It is the mark of a true designer, when you are able to wear their creations regardless of season or time.  The most challenging part of creating a timeless garment is to achieve the right balance between modern and classic.

You derive this from your surroundings as well.

Growing up in Moscow I was inspired by Imperial Russia; the rich heritage and opulent architecture.  The ballet Russe and opera.  My family, particularly my mother, always taught me to respect your heritage.  This is a value I try to embrace in my work.

To respect the past?

We have infused our collections with Russia’s past and London’s modernity.  Studying at Central Saint Martins made us appreciate its forwardness, but also its street fashion, ambience and combination of architectural styles.  You need to have an open mind.  Open yourself to new influences.  But also giving heritage modern relevance. 

Would you say Izmaylova’s atelier is a testament to this?

Fashion began by hand.  We have invested in those who preserve this history through craftsmanship.  Our pattern-makers, seamstresses and embroiders possess these very technical skills, but give them a place in the modern world.  There are very few brands that produce their garments in-house or have an atelier like we do.  With the rise of mass production and fast fashion, these values have been undermined.  Craftsmanship is timeless.  It is a beautiful and poetic commandment of excellence.  A shared experience, human contact on the material.  It is a gift.

Colour can also help a collection transcend time.

Black is one of the most beautiful colours, yet it is the absence of everything.  It is known but also unknown - this is its attraction.  Quite simply, it is the embodiment of power.  Something that can be had, but not.  It is the colour that best describes us.  Fashion is not only about having, but feeling. 

An emotion.

Dressing is incredibly emotional.  It conjures memories.  As a child, I often accompanied my mother to stylish boutiques around the world, watching in admiration as she purchased dresses for the ballet or opera.  My desire to design for elegant, pragmatic and enigmatic women, just like my mother, started here.  I believe black embodies their spirit.  A woman who is not afraid of being luxurious. 

Or seductive.

Yes!