I am hugely inspired by contemporary architecture in my design process.  I like the way the graphic, geometric lines and shapes can translate into garments, especially when you combine them with softness and volume.  I like to create an architectural framework and much like a building, fill it with contrasts and textures to complete the facade.

Fashion has long drawn inspiration from architecture, Coco Chanel put it quite simply, ‘fashion is architecture: it is a matter of proportions’, and many designers including Pierre Cardin, Balmain and later Roksanda even trained as architects before entering fashion.

In their simplest form, clothing and buildings both have a functional purpose, to provide warmth and shelter to the body, and to provide warmth and shelter to a space.  They are both 3 dimensional forms which require construction and materialisation.  Naturally, both processes have evolved to be as much about aesthetics as function.

As a designer who enjoys the technical aspect of design, considering pattern cutting as much a part of the design process as sketching, I enjoy the possibilities of manipulating construction to achieve a more interesting result.  I love the way clothes were constructed in the fifties, the cutting and construction was playful and varied, and seaming was used in a way that could be very architectural.  Think of the clean, sculptural shapes created by Cristobal Balenciaga and Givenchy.

Everyone has their own vision and approach, but for me the appeal is in combining a graphic architectural influence with a feminine softness.  By using the contrasts to offset each other and create a piece that has the design strength of contemporary architecture and a flattering style that makes a woman feel feminine and attractive.  These principles have shaped the first Mya Rose collections and I can see them remaining a core theme to future work.