After graduating from Central Saint Martins, Grace Weller set up a small studio outside of London and established her eponymous label. Just a couple of years later, she’s become known for her one-of-a-kind, handmade, custom pieces that blend a certain romanticism of centuries-gone love letters with a contemporary playfulness and modern feminine power. Drawing from the grandiose drama of couture shows while reworking antique and vintage textiles with novel embellishment techniques, Weller creates looks that not only breathe new life into forgotten treasures of the past, but that will continue to be prized for generations to come.

We speak with the designer about the start of her label, finding her footing in the industry, and navigating the complexities of being a sustainable brand on a small budget.

Read the interview…

Can you tell us about your background and how you initially got into fashion/design? What was it about the artistry or industry that intrigued you?
I grew up in a really creative household — my dad was an artist and my mum used to have a stall at Covent Garden selling her own hand-knitted jumpers — so I think being surrounded by paints, yarns, and various materials gave me my initial feel for design and creativity. My intrigue with clothing and fashion had been a constant thread throughout my life, but it wasn’t until I was around 15 when a family friend invited me to the last Jean Muir show during LFW where the glamour and chaos of it all really solidified my interest.

What or who were some of your early inspirations? Were there any designers or brands that really inspired you early on?
When I was young, I was always attracted to the drama and grandeur of the couture shows, in particular Valentino, Gaultier, and McQueen. My tastes have slightly changed now but they were definitely the brands that captured my imagination growing up and I feel the romantic sensibility that runs throughout my work has definitely been influenced by these brands.

How did your ideas and approach develop during your time at CSM?
At CSM, the emphasis was on experimentation and pushing limits. We were encouraged to break out of familiar patterns and work with materials and techniques that felt entirely new. It was an environment of exploration which was pivotal for my personal evolution as a designer and has definitely influenced my approach to launching my own brand.

When you first founded your brand, what were the concepts, beliefs, or ideas that you wanted to explore, reflect, or discuss with it?
I wanted to create a brand that was playful and textured, prioritising hand crafted garments made from vintage textiles and techniques but reinterpreted through a contemporary lens. My goal was to create innovative textiles and produce creative and distinctive garments through deconstructing, re-working and repurposing. Sustainability was a key priority, with a focus on minimising our environmental footprint and conserving natural resources and therefore making a meaningful contribution to a more sustainable fashion landscape.

What is your typical design process?
I usually begin with sourcing and collecting textiles and things that I find interesting, maybe a little fabric remnant with a technique that I can experiment with, or vintage clothing with interesting silhouettes or construction that I can play around with. I always try and get a few days in at the CSM library and then once I start seeing some mood boards coming together I’ll start loosely sketching out some very rough ideas and draping on the mannequin. I tend to keep the process pretty fluid and don’t give myself set deadlines for research and designing, but do both alongside each other continuously throughout.

However, for my SS25 collection, I have shifted things slightly. I have just started working with an embroidery studio in India, so this time my process will be a little different. I am yet to figure that out but I’m excited about the new direction it’s taking!

Can you speak about the materials you use, and particularly how you source the antique and vintage textiles?
My custom pieces are made mostly from vintage textiles that I have been collecting for years. My dad always used to take me to vintage fairs and markets growing up so that has been a huge influence and I’m always on the lookout for new pieces. Places I search: antique fairs, markets, second-hand online retailers, charity shops, Facebook marketplace, estate sales, online auction sites….

For AW24, I pushed this process further and managed to source a load of leather off-cuts that were going to be thrown away and made these into intricate leather lace pieces using dissolving fabrics which was a lot of fun. I want to explore this technique further — creating beautiful pieces out of materials that would have otherwise been discarded. The element of surprise in discovering unexpected materials adds an exciting dimension to the creative process.

The introduction of your RTW pieces no doubt expands your brand to reach more people. What design considerations go into this line vs. your custom pieces? How do you capture that same magic of your one-of-a-kind looks in perhaps more accessible styles?
This has been a really interesting process for me and something I am continuously improving and refining with each season. For AW24, I collaborated with a knitwear and crochet studio based in London to transform one of my custom pieces into a crocheted top suitable for production. My aim is to diversify the techniques utilised throughout the brand, creating a fusion of various handmade methods with the assistance of studios across the UK.

I also think now that I am collaborating with an embroidery studio in India, I will be able to achieve this connection between one-of-a-kind and ready-to-wear more fluidly. But, I would say it is more about bringing the fun, playful and romantic mood of the custom pieces into the ready-to-wear line.

What have you learned since starting your brand that you may not have expected?
Navigating the complexities of being a sustainable brand when working with a very small budget! Materials, processes, and MOQ’s are so much higher and more expensive when using eco-friendly materials and so this has been a major challenge for me and something I am working to improve on. I think I was a little naive when establishing the brand, but I have realised that it is something that will happen organically as the brand matures and expands.

What has been the most rewarding part?
For me, it’s been about finding my footing as a designer. Starting amidst the chaos of COVID, I felt disoriented and uncertain about where I stood creatively. Building this brand has helped me figure stuff out and develop my design identity along the way. I still have a long way to go, but with every season, I’m refining my skills and pushing personal boundaries. It’s a process that feels liberating and unrestrained.

Are there any other emerging brands you’re particularly excited about?
I really love what they are doing at Stefan Cooke. I love the innovative textiles and unexpected fabrications — they have such a fun and experimental approach to fashion with cool shapes and silhouettes. I always look forward to watching their shows and seeing what they come up with next!

Keep up with Grace Weller here!