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Martine Rose finds a fresh route to showcase Fall/Winter 2014, taking a momentary break from the London menswear schedule and debuting her collection online. Her latest line-up distills ideas that have always been at the centre of her work. “A little bit teenage crusty, a little bit raver…with a mix-up of cultural uniforms,” youth subcultures reimagined, exaggerated shapes and proportions take centre stage. We caught up with Rose to find out a little more about her teenage dream, “oddly beautiful combinations” and classic acid house imagery from the Wild Life archive.

Can you tell us a little about this latest collection?

I started this season looking at my personal relationship with the music that has shaped and informed me growing up as well as the various scenes that dance music in the UK encompassed.

How did you end up working with Steve Terry’s Wild Life archive?

Once I had a clear idea and I knew which direction the collection was taking, I knew that Steve was the right person to work with given his huge knowledge and beautiful collection of rare artworks and images connected to the early dance scene in the UK. I approached him and he was game luckily!

What would be the soundtrack for this collection?

Manuel Gottsching E2 E4 album – in some ways the track that started it all. It’s from 1984 and is cited by so many producers of acid house/rave as inspiration

Is there an element of personal nostalgia with this collection?

Absolutely, there was a rigour connected to the imagery that Steve and I chose. I wanted to do the opposite of what our modern culture encourages, which is picking and choosing imagery from everywhere, every scene, that become a pastiche of their original meaning and currency. Steve kindly gave me hundreds of images from rave flyers from the late ’80s to the late ’90s, of the dance scene all over the UK. Partly because I had to have some sort of system for editing and choosing the artwork, I focused either on the club and raves that I went to myself, or my older cousins, or my boyfriend went to. I really enjoyed treating this imagery, which was used as a form of quick communication that a certain generation and scene understood, and treating it as something precious as one would a work of art.

Do you have a favourite piece from the line?

I love so many of the pieces. I love the plaid shirt with the ‘Trance’ flyer printed on pink muslin appliquéd on the back. I love the silver trousers, the green fur coat with shaved patch littered with flyers…I could go on.

You took a break from the schedule this season, what prompted you to take some time out?

It’s more of an exploration of different ways to show a collection. What ‘we’ produce physically, immediately become images now anyway. I wanted to use the strength of just producing a strong set of shots which then become the only available imagery of the collection. Its interesting to see how these will become absorbed and reused.

Words by Lena Dystant
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