An open conversation with creative Agathe Boesch about trend forecasting, fashion and design. She uncovers what goes on behind the scenes of the creation of her trend reports, and what she loves about working in the fashion industry.
Your “Smoke & Mirrors” trend book is an in-depth look into three concepts, where do you start your research when it comes to trend forecasting?
“You have to be aware and understanding of what’s happening on a larger spectrum than just this industry.”
It usually starts with an exhibition or an artistic ‘interest’ of mine, in all its vagueness, or a socio-cultural activity that piques my interest/that we all commonly agree has to be discussed in the fashion and art industry — but I feel I am incapable of starting a solo project based off something directly related to fashion and garments, as I find it too restrictive.
As cliché as it sounds, I do get inspired by pretty much anything although I have a soft spot for curiosities, rarities, the ridiculous and previous societies.
I believe it is important to go out there and see as many exhibitions, movies, even gigs possible (maybe it’s not the best time right now) to actually get a physical grip of what’s going on in the Art department, and then only be a nerd on virtual researches. ‘Real-life’ inspirations are much needed and we shouldn’t just be attracted to art/anything the Pinterest algorithm shows us, as it is a sensorial and emotional experience being in front of Art — capital A –, that you yet can’t reproduce throughout your computer screen. It also helps to somehow evaluate what’s going to work best, what to and how the spectator and thereby future consumer reacts. Eventually you’ll get biased believing in your work, it’s just healthier to be influenced by your own inner algorithm.
“As the imagery builds up you naturally get hints of fabrics, colours, sensations etc. you associate with the theme. It should almost figure itself out...”
As trend prediction involves a lot of informational elements, how do you normally organise all of your findings?
Lists! Folders! Time!
Loads of lists, from the simple tasks to-do list to a detailed story-board of how the ‘book’ is going to look, writing stuff down is the clearest way to go, for me at least (but then I’m a Virgo so it has become a coping mechanism for me to do so). Let’s say I just got back from an exhibition and noticed something that could lead to a trend; I’d usually let it incubate for a couple days and see if by that time I’m still thinking of it and unconsciously thought about other ideas that could implement the original one. I’ll then do intensive and extensive ‘general’ research on the subject, without dividing it into sub-themes yet.
As the imagery builds up you naturally get hints of fabrics, colours, sensations etc. you associate with the theme. It should almost figure itself out as to get the most genuine, cohesive and therefore qualitative relation between all different parts composing a trend.
I then do colour harmonies by hand with acrylic paint to actually see in different lights how it looks, and go have a look in thrift stores, deadstock and my own fabric library to find interesting fabrics.
Taking time to reflect on your work is key. Time allows you to evaluate your work with a clear mind, get a more objective vision and stay sane. It obviously is easier when working on something for my portfolio, than for clients but I’d say a good time management should allow –if possible– at least half a day off work, just as to work even better when you come back to it.
“…make lists about every website, Instagram accounts, brands, magazines etc. you enjoy and should regularly consult as to know what’s up…”
Are there any particular design programmes that you feel are essential to your work?
The Adobe Creative Suite without hesitation. I marked an important point whilst studying, and still do now, to be honest, to get the more skilled possible when it comes to Adobe Illustrator, Photoshop and InDesign, as to understand how your colleagues who will be specialised in each step of developing a project work, the time it takes and the possibilities that come with each programme. And also how rewarding it is to be able to conduct an idea from A to Z all by yourself and your trusty little laptop.
I’d give a bonus point to Lightroom, just because it is my little ‘péché-mignon’ when it comes to editing holiday pics.
Otherwise, not really programs but tools: the Instagram ‘save in collection’ tool, well organised Pinterest boards, I would’ve recommended Tumblr but we’re not in 2015 anymore and the nudity censorship truly is a shame when it comes to collecting images on there.
And lastly, make lists about every website, Instagram accounts, brands, magazines etc. you enjoy and should regularly consult as to know what’s up basically.
All of your work is presented digitally. What are the benefits of digital work compared to physical?
I think of three evident benefits. Firstly the ability to reach more people, not only geographically but also interests-wise if that makes sense. The multitude of possibilities and absolute ease that comes with digital work, there is a program for pretty much everything and as I agree it is limited, as I said earlier, for example, you don’t get the same sensorial experience digitally. I do reckon we will get there at some point though. Lastly, the archives; as we all know nothing ever gets lost on the internet, take the 1666 Great Fire of London.
What is it in particular that you love about working in trend forecasting?
I think the whole process honestly. It is such a plural and rewarding job.
I like being able to create hopefully aesthetically pleasing and commercially viable trends from scratch basically. The socio-cultural and sometimes even political parameters needed to be taken into account as to be legitimate. You have to be aware and understanding of what’s happening on a larger spectrum than just this industry. Also at the very end, years after, noticing how your forecasts actually did guide brands and people is very very cool. And more generally just always being on the lookout for new stuff is just personally enriching but it obviously is for work, in the end, just food for thoughts — warning though: you may become a sapiosexual (kidding).
Have you always wanted to work in the fashion industry?
Yes! Once again super cliché; I always knew I wanted to work in Fashion, I still wouldn’t know what else to do now. I used to have quite a few ‘fashion models’ templates notebooks when I was a kid and drew looks over them, I’d then hang them up my room’s walls, my own little catwalk if you will, and my cousin and siblings would rate each look. My brother was the youngest yet harshest, but fair! (He gave me a 6/10 once, still hurts...)
My mum also was a strong influence when it comes to my relationship with fashion. She has the biggest wardrobe I’d ever seen, she has a great sense of style and I reckon she doesn’t really follow trends but she’s always sensed trends and I like to think she passed this onto me. Also she used to make her own clothes growing up, come on, how cool!!! (I unfortunately didn’t because I was a rebellious teenager ignorant of the fact that the sooner you tame a sewing machine, the easier it gets.)
“I am begging for us all to consume differently and better, understand what’s going on in the world and take these issues seriously, to slow down, and to just be kind because that’s the easiest thing to do.”
Is there any advice you would give to your younger self?
I would honestly just give my younger self a pat on the back, for building this confidence out of nowhere, it still really helps to stay not only serene and sane but mostly humble, which can lack sometimes in this industry. A second pat on the back for never stopping drawing clothes and imagining stories — maybe I’m not that humble after all.
I would roast myself for being so bad at maths though. My pattern-cutting and 3D mock-ups hellish journey would’ve been so much easier if I hadn’t declared war to maths at age 10.
You’ve worked in France and London. What differences have you found between working in these locations?
It is different in the sense France means my family and my home, the comfort and serenity that comes with it. London means my true and long yearned for home, the exaltation and a new chapter. I feel it doesn’t affect the quality I put into my work, as I will work the same wherever I am as long as I feel good in my space and can blast my 2006 emo playlist all night and drink loads of tea.
However it does affect my sensibility because growing up in Alsace, in the very East of France, I bathed in a strong folkloric culture, in a torn apart region who underwent hundreds of influences and I now admit it does influence my work and gives me more traditional ideas, ‘raw’ even feel to my work; whereas London and the UK have a really strong heritage as well but from a newbie’s vision I still have to learn a lot about this country to truly feel legitimate working on its History.
“I am positive things will change, it all had to slow down a bit abruptly, but it should stay this way from now on, as to be more genuine and simpler I guess.”
What “trends” are you looking into at the moment? Anything in particular you’ve noticed in the times of COVID-19?
I am begging for us all to consume differently and better, understand what’s going on in the world and take these issues seriously, to slow down, and to just be kind because that’s the easiest thing to do. This obviously reinforces the ‘trend’, which shouldn’t be a trend, of going towards more sustainable and conscious ways of living, of dressing, of evolving. I know it is ironic coming from someone in not only the Fashion Industry but specifically in the environmental chaos that is trends forecasting. I am positive things will change, it all had to slow down a bit abruptly, but it should stay this way from now on, as to be more genuine and simpler I guess.
I’ll encourage into investing in sustainability if possible — I’m well aware this is a very elitist issue –, end the ‘wellbeing’ hypocrisy and actually just be as we are and be for ourselves.
Are there any projects you’re working on at the minute?
I am almost finished with the collection I sketched based on the ‘Smoke & Mirrors’ ‘trend book’ (I don’t really feel it is a trend book I just don’t how to refer to it). And as I can’t do one thing at a time, I’m thinking of reworking my Fine Arts Foundation Year final project that was on, the Violences on the human body in the Anthropocene.
Otherwise I am looking for work so if any of the readers would like my ‘passionate, positive, creative and with a strong work ethos’ self to work with them, please do hit me up!
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You can find lots of Agathe’s work on her Behance here.
