4 hours ago6 min read

LFWSS25 - Interviewing Genaro Rivas, Designer of Fashion Weeks Most Colourful Collection

Ahead of his show Marvel Hill in aid of Children’s Hospital in Peru, we sat down with Peruvian designer Genaro Rivas to talk about his work, pioneering the world’s first 3D printed dress, as well as the many other ways his work multi-dimensionalises the industry, from his background art to his diverse and sustainable industry practices.

DAISY: What initially interested you about the fashion industry? Why have you chosen to be a designer?

GENARO RIVAS: Since I was a child I’ve been exposed to a lot of art and paintings. I remember taking classes at a really early age of colour imagery and colour combinations with one of my cousins, who was a painter. After that, I decided to start my career in Fashion Business Administration because Peru is quite strict and you can be boxed in. But then I realised I wanted to do fashion, so I joined a fashion contest, and I won.

Model wearing Genaro Rivas design — Lily Skye @lilyskyye

DAISY: How would you describe your signature style, both in your work and casual dress?

GENARO: My casual dress is basically denim and a white shirt. I like to dress women so they feel powerful and bold. I always say my success is not having a woman wear head-to-toe Genaro Rivas, but is having a woman that can take some pieces of my collection and make her own. That’s why in the styling of the collection there were structured pieces with really simple plain dresses that I can imagine a woman here in London wearing.

DAISY: Since launching your brand your clothes have been exhibited in acclaimed design shows and you have showcased in LFW for three consecutive years now, what do you feel were the key decisions you made to get your brand to that point?

GENARO: I just follow my instincts and work like a horse.

Model wearing design by Genaro Rivas — Lily Skye @lilyskyye

DAISY: What is your design process like?

GENARO: I take pictures. For example, with this collection, I took some in tube stations around East London. I then started mixing them up and playing with them. Then the overlay of pictures is put onto the prints. Then I begin, for example, to say ‘I want to create this marvellous world, it’s going to be called Marvel Hill’. And then everything starts to come together, I’m really happy with it.

DAISY: This collection was a really interesting fusion between the traditional Peruvian designs and quite urban streetwear elements. What were the aims and intents of this collection?

GENARO: Is to get a stockist. laughs No, the aim is to create a bright colourful collection. To create a world where women can be full of bright colour and joy. They shouldn’t be afraid to express themselves. Which sometimes is something that gets passed by when it shouldn’t be.

DAISY: The designs you presented at London Fashion Week are so incredibly intricate and detailed, how did you and your team achieve this?

GENARO: The weaving in the collection brings life into the garment. Another thing I feel like it’s quite important to mention all the weaving was done by Evyn, and Gracie was in charge of all the patterns and cuts made in East London.

GRACIE: The women who construct the garments at Fabricworks are fantastic too. It’s a whole women-supply chain.

DAISY: The use of thermoformed acrylic is ingenious and stunning, how do you feel it translates into a garment that has wearability for consumers?

GENARO: Well, that weaving garment is not going to be something that you are going to mass replicate because each piece is unique. These pieces are like the cherry on top of the collection. I feel like there should always be a mix between something commercial and something stunning and beautiful and handmade. Everything needs to come together and have a history of itself and that is what we were trying to do with this collection with a mix of prints, colours, and having these rocks printed but then having this silk coming and draping down.

DAISY: I was really interested in your ethos as a designer. You’ve been known to use alpaca wool, bamboo, and Japanese silks. Naturally, sustainability is extremely important, how did that look for this specific collection? What processes/materials were used?

GENARO: I think the sustainability of this collection is behind the collection itself. It's all about who made it and being transparent and showing all parts of the team, that is something that brings sustainability to this collection. Paying people a living wage as well.

DAISY: What is one material that you would really like to work with, or explore the possibilities of using?

GENARO: I want to work with stone. I follow this guy who turns river stones that are quite big and he starts polishing it and he makes sinks. And I was thinking about if he can make these big things then he can make some shoulder pads so I was thinking about mixing that in. I know it's going to be crazy but ever since I followed him on TikTok I was like yeah, ‘That’s what I want to do’.

DAISY: Many of your collections have directly spoken to the cultural and political climate you were working within. For example, your 3D-printed dress showcased at the Iberoamerican Design Biennal in 2018 was pioneering and spoke to the pressing issue of sustainability in fashion.

How do you navigate your own creative self-expression of these issues alongside the fashion industry’s need to be marketable?

GENARO: I try to find a balance. For example, the first time I did a collection with organic cotton I was like ‘Okay how can I make this t-shirt in organic cotton whilst still being saleable’. I need to think about the production. So we altered the way the garment was designed, a raw hem, for example, to try and keep costs down and keep it simple.

DAISY: It’s clear these are issues you truly care about and that you endeavour to champion change, your very first show was one that raised money for a Children’s Hospital, how would you like to see other brands introduce this same social consciousness into their practises?

GENARO: I feel like this is not about introducing social concepts into their branding because it should be in their ethos and values, it should already be there. For example what we did back in February was ‘let’s work with people in east London’, ‘let’s create community’, and support the skills that already exist.

DAISY: And do you worry? Obviously, some brands are failing to do that.

GENARO: I’m just worried about the next collection.

DAISY: You’re in the process of developing the EWP app that speaks to your efforts to generate jobs within the creative industries, I’m sure this was a design process that was very different to garments. How have you navigated that? What has been the most rewarding part for you?

GENARO: I used FIGMA. By using that platform it gave me an idea of what the entire app should look like. Then I shifted to create a methodology for fair wages in collaborations between artists and designers. At some point, I would love to develop that app because I feel like it’s hard as a foreigner coming to London not knowing anyone. It’s like, ‘Where can I find fabrics?’, ‘where can I find threads?’, ‘Where can I find people to do the patterns?’. If I would have had an app like this that would have enabled me to find those then that would have made my work so much easier and connected me with so many more people.

DAISY: Peru is yet to be recognised as one of the top four global countries for fashion, what exciting things are happening back home? Are there some collections and designers you love at the moment?

GENARO: Peru is my home country, I love it. We have marvellous fibres and materials, a lot of history and culture. But I feel like we still don’t get that fashion can be an industry for itself which is kind of sad but then it’s like I think that will change step by step.

DAISY: Looking forward, what are your plans for the future? Is anything exciting upcoming?

GENARO: Hopefully, get a lot of stockists!! laughs