Not everyone thinks of fashion designers as business people, but fashion ultimately requires designers, especially independent designers like Giles Deacon, to stay in touch with the realities of managing a business every day.

In the third and final chapter of Giles’ story, we learn how collaborations with major partners like New Look, as well as creatives like LOVE Magazine’s Katie Grand and milliner Stephen Jones, have enabled Giles to bring his designs to a broader audience, elevate the sophistication of his product offering, and therefore have a creative and business impact far beyond what might be expected of an independent fashion label in London.

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Previous chapters:
Chapter I | “Unstructured Exploration…”
Chapter II | “A Designer Who Has Always Drawn…”

Inside the Studio | Giles Deacon was generously supported by Swarovski

Giles Deacon began drawing at the age of three, so it’s not surprising that illustration forms a fundamental part of his creative process.

The second chapter of Giles’ story uncovers the organised randomness behind Giles’ arresting design concoctions, often starting with a sketch. He explains how designs like the now iconic Pacman dress from Spring/Summer 2009 and the much talked-about Bambi dress from Spring/Summer 2008, which landed on the front cover of the New York Times, were conceived and developed.

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Inside the Studio | Giles Deacon was generously supported by Swarovski