le magazine double

When meeting someone, the ashes of the following day are always present, a forgotten question, misformulated, a hesitation from which we should have jumped forward or missed news. A few days after the release of stylist Alistair Carr’s interview, we were told that he had been nominated for the artistic direction of Pringle of Scotland. We had named the article “Insiders”, aiming to present a few of the traditional heads behind the creator’s, that of which everything stems and fructifies. This article is still relevant but in being so, the title, on the other hand, is obsolete.


Alistair Carr, young designer, as brilliant as he is charming was formed according to the purest English tradition. First at the Saint Martins School, the famous genious factory, then between the hands of the excentric Mister Pearl. The appeal of parisian fashion ended up tearing him away from perfedious Albion since he is now officiating at Balenciaga alongside Nicolas Ghesquière. Alistair pursues his quest in search of the modern and desirable dressing closet.


Where did your interest doing fashion come from?


It started when i was young, as a boy I would sit on my grandfather’s lap when he was sowing. I materialized these inclinations with a BA from Brighton, then a master’s degree at Saint Martins while working with Mister Pearl.


How was your experience with Mister Pearl?


I was twenty, in order for him to take me I told him a pack of lies, that I knew how to sow perfectly for example. He tought me allot because he is a true perfectionnist. Thanks to him I also was able to attend my first runway show, John Galliano for Dior Couture. He introduced me to John, who brought me backstage, I kept such incredible memories of it!

You managed to be known as soon as you left Saint Martins by creating your own brand, why did you interrupt that ?


I only did three seasons. It was a real battle to collect funds before each collection. But what really motivated me to stop is the fact that I was starting to be renowned for something I wasn’t proud of.


What did you do after that ?


I left for Milan where i worked for Marni during a year, I then spent a year at Cacharel in Paris and I arrived at Balenciaga after that, four years ago.


Did you leave Balenciaga during those four years?

Yes, I went to Chloe for six months. I worked with Hanna but it ended up not working. I was lucky that Balenciaga was willing to take me again and I accepted.


Who influenced your vision of fashion during your career?

Three people mainly : Mister Pearl, Louise Wilson who was my professor at Saint Martins. She tought me to question every single decision I took. Nicolas Ghesquiere as well, who is one of the most inspiring people I have ever met.


How could one define your style?

I like modern things, that give out a innovative feeling without being too conceptual, I like to stick to real clothing. This is what Balenciaga is increasingly strinving for.

A muse perhaps?

I would say Nathalie Marrec. She works at Balenciaga, she is amazing in her way of putting things together. I love girls that look like they dress effortlessly.

How does your research work take place before a collection?


I always stay aware of what young artists are doing, especially those that work with materials, that use them originally. I am very fond of Tacita Dean, nominated for the Turner prize a few years ago. And Folkert de Jong who is one of my favorites.

Do find inspiration in old clothing?


No I do not like to draw inspiration directly from clothing. I associate that way of working to laziness. And the great problem in fashion today are these lazy people who dont have the strength of their opinions. Its good though for true talent because I think that the difference can be felt.

As an Englishman, what is characteristic of French fashion to you?

Craft ! In England we had Savile Row, but in Paris there are incredible studios. At Balenciaga the studios are magical, I bring them an idea and they make it stronger. I love Rei Kawakubo for the same reasons, even though I don’t like all the collections.

The frantic pace of the collections is very criticized these days, what do you think about that?

There are too many. Six per year, plus additional ligns for many fashion houses. We don’t have time to properly “digest” things. I admire Azzedine Alaïa’s example who manages to distance himself from the system while maintaining the good health of his business and creating lovely things at the same time.

Pictures by Bruno Werzinski, text by VICTOIRE SIMONNEY and translation by ALEXANDRE JANNEAU.