Designer Masha Popova on subverting the ‘sexy’ normative
This is A HOT MINUTE WITH, a quick-fire interview series championing all the rising talent catapulting into fashion, art and music’s fickle stratosphere. From pinch-me moments to bad dates and even worse chat-up lines, think of it as an overindulgent conversation – like the ones you have in sticky club toilets at 4.A.M. Except these guests don’t regret the overshare…
Courtesy of @mashapopovap
NAME MASHA POPOVA
AGE 30
LOCATION London, England
STAR SIGN Sagittarius
BIGGEST PET PEEVE People eating loudly next to me when I’m working.
In a time that feels about as stable as jumping on a dodgy-looking rollercoaster running at turbo-speed, there is something strangely familiar about the transformative work and trial-and-error process of Ukrainian designer, Masha Popova. Her work traverses fashion history in its cuts and subverts beauty in its skewed silhouettes, and is arguably one helluva ride. Popova graduated from the MA Fashion course at CENTRAL SAINT MARTINS last year having interned at Celine and, under the guidance of John Galliano, Maison Margiela. Since then, the designer has nurtured a client list that includes everyone from ZARA LARSSON and LIL MIQUELA, to BLACKPINK’S ROSÉ and JISOO.
For her AW21 collection shown last week, the designer chose butterflies as a central motif - think colourful creatures melded to the chest in gauzy lilac bras and luminous blue appliqué. They perch atop spliced jeans, tainted with a rust-like texture as if in decay. It’s dirty-looking, but in the best possible way. It’s a collection that points to a post-human dystopia where nature is emerging through the cracks of a remnant world. Sound familiar? The designer’s foray into biomimicry (design based on biological entities) can be attributed to her trial-and-error design process: “I don’t like to do techniques I’m comfortable with. When I experiment, I often prefer how mistakes look,” she explains. “I like the risk.”
With London Fashion Week going digital for its second season in a row (thank you, Covid), Popova released her AW21 collection through You Make Me Dizzy - a short film that sees the garments through a ‘90s “crime thriller-inspired” lens. “I was thinking about Natural Born Killers and crime. Then I found this reference of a boy standing on a round-a-bout, it made me dizzy. I loved that link to childhood memory.” This dizzying childish disorientation is reflected in Popova’s views on the fashion industry as a whole, a sector she describes as warped by flaws. Among poor mental health and OTT egos, it can feel so far removed from reality that it’s almost nauseating (much like the playground rides within Popova’s AW21 film). Her designs, however, maintain a vivid clarity and never fail to find allure in imperfection.
Alice May Stenson: If you could revive any historical period, purely based on its fashions, which would you choose?
Masha Popova: Tough question, I would probably say the 19th century – it would be great to see museum artefacts come to life. I did some research on motorcycle clothes and I found an old advertisement for some of the first female bikers. They wore hoods to cover up their massive hats, it was ridiculous but so interesting.
AMS: How did your childhood and life in Ukraine impact your brand ethos in later years?
MP: I grew up in a small town until I was about 10 years old. I lived near the railway and I’d describe it as industrial or suburban, so you could say that the materials I use reflect a clash of two worlds between my early life and my time at CSM. In Eastern Europe, sportswear is a key part of life, just as it was in early ‘90s and ‘00s culture. When I was younger I always remember trackies as an important part of everyone’s wardrobe so that’s why you saw it in my graduate collection. I didn’t dress like that but it ignited this nostalgic feeling within me, of missing things that I never actually liked.
AMS: I’ve decided to nominate you as chief curator at a new art and architecture gallery. Who will you exhibit?
MP: Marlene Dumas, Franz West and Pipilotti Rist.
AMS: Worst fashion or beauty trend you’ve ever partaken in?
MP: I think some of the worst trends can ironically be the best. When I was 14 I had an emo haircut with the long fringe over my face and stretched ears.
AMS: Can you describe to me what a Popov-ian fantasy world would look like?
MP: I would want to be able to fly. The clouds would be made of cotton and you could jump on them, there would be floating islands everywhere and each one would have its own unique wildlife.
AMS: You can only wear one pair of shoes for eternity, do you pick Balenciaga crocs or Gucci loafers?
MP: Gucci loafers.
AMS: How do you wish to make people feel when they wear your garments?
MP: I want people who wear my clothes to feel sexy, but not in a sexual way. Flattered, comfortable, careless. I’m not going to say the overdone ‘empowered’ cliche. It’s a kind of unrestrained sexiness. I hope my clothes give some confident energy from their imperfections, you can’t iron them so it’s part of the look!
AMS: Most embarrassing moment?
MP: When I had my interview for the internship at Margiela, it was with John Galliano and he asked me who my favourite designer was and I didn’t want to say it was him but I couldn’t think of anybody on the spot. So I accidentally said something like, “I refuse to answer, that’s an inappropriate question” and he awkwardly had to change the subject.
AMS: Speaking of Galliano, do you prefer his theatrical work or that of McQueen?
MP: I like both of them but Galliano. His early work, before Dior especially, has been so inspirational to me. I’m not just saying that because I interned with him!
AMS: Which songs do you have on repeat right now?
MP: Any songs by ROSALÍA.
AMS: You’re known to hold a critical outlook on the industry. What’s the biggest misconception about fashion?
MP: That the industry is fashionable to work in!
AMS: How did your internship experiences at Celine and Margiela contribute to your education?
MP: Any experience helps, I believe. At Celine there was a larger team who were mainly draping and cutting - you had to work your way up. It meant pushing myself and not being afraid. Margiela was a much smaller team, it was hands-on and insightful in a more detailed way.
AMS: My greatest career achievement so far is...
MP: Hard to say! Probably my latest collection because I made it in like three-and-a-half weeks. I wanted it to come out of my previous work, so it’s similar to the idea of a butterfly emerging. It had new colourways which occurred naturally from testing new washes and denim finishes. They all went in the direction of looking dirty – but without using harmful products, as I don’t use bleach on the jeans, I try to always consider the environment.
AMS: What’s your favourite thing about Ukraine?
MP: The hunger people have. In the clubs there is always an electric energy, an excitement for new things because people don’t have much.
AMS: Your approach to learning revolves largely around failure, so what’s a big risk you’ve taken?
MP: One of the techniques I use is painting leather and it’s a never-ending risk because it can go so wrong.
AMS: Being at art school is eye-opening. In which ways did CSM help you grow?
MP: Before I moved I didn’t even know many designers or much about fashion history so the library helped me to discover different areas like haute couture, draping, constructing things. In some ways I weirdly became less confident. Being from a small place I was naive and thought highly of my designs, but seeing all the worldwide talent made me question myself. So it encouraged me to try harder.
AMS: And what’s next for Masha Popova?
MP: I would love to start doing new projects right now, even if fashion week went fully physical I’d still consider doing some digital work. You can express more on a tighter budget. And there’s less technical issues to worry about than when having a physical show, it’s less stress! You just click a button on a laptop.
