May I Introduce: James Merry
In fashion times were Gucci has brought back the love for embroidery, glitter and excessive chichi - you have to adapt. 90s sport logos (my big love) aren't an automatic sell anymore. To plain, to basic, to less cuteness going on! Well we found someone who's about to change that.
James Merry uses all these 90s brands (Kappa, Champion, Hilfiger, Puma etc.) that have just experienced the revival and makes them catwalk worthy. With the tiniest embroidery around the brand logo, this becomes a massive eye catcher! Check out an interview James gave i-D about his work and what's up next!
What do you love about embroidery?
I love the pace and focus and control of hand embroidery. It slows you down. It zooms you into a really precise point of focus, which can be very therapeutic if you have an otherwise quite large and busy life. And the portability of it—I can fit everything I need in my backpack and work on stuff while I'm on flights or watching TV. And then I love the wearability of the end product—they're not stuck in a picture frame on a wall, you can wear them and bend them and put them in the washing machine when they get dirty. I love that aspect of it.
What is your favorite thing you have ever made?
I guess I'm always most excited by the last thing I made, which would be the lace headpiece for Björk to wear at a recent live show. I was a bit unsure if it was going to work while I was making it, but as soon as she put it on with the Nikoline Liv Andersen dress, it all came together so well and I was thrilled.
How did your partnership with Björk come to be?
I was introduced to Björk over 6 years ago through a mutual friend in London when she was just starting to conceive Biophilia and looking for an assistant to come on board. It was such an adventure. We swapped a few YouTube videos by email and then I went to meet her in New York. I went back to London, and then two weeks later, I dropped everything and moved out to New York to work with her full-time, which I've been doing ever since. I've always been a bit reluctant to talk about it really, as it has always existed in such a magical and fertile place and I would never want to burst that bubble by trying to define it too much. But meeting and working with her has definitely been the best thing that ever happened to me, in so many ways.
Prior to that, you worked with Damien Hirst. What did you do and what was that like?
At first, I was in his studio making the kaleidoscope butterfly paintings, but then I started doing more admin kind of stuff, partly because I had a knack for remembering all the butterfly names.
Where did the idea come from for your new sportswear series?
At the start of this year, I had been stuck in New York for a bit longer than I am usually comfortable with. I was really missing Iceland and being in the countryside, so I guess it was some kind of silent protest of mine—to take something that was super urban and machine-made and barren (my old Nike sweater), and fertilize it, forcing it to flower by embroidering a glacier flower and moss on it. I guess these embroideries are similar to the drawings in Anatomies, in that they both focus on a very particular point of transformation—the moment when one thing turns into something else. I'm obsessed with that.
CREDITS: Text Zio Baritaux for i-D
June 13, 2016
Labels: On track, May I introduce