The warrior is sage. It takes a lot to be independent. In the realm of garment design, we are often lost for perpetual reflection. Few mavericks roam these lands. Stephan Schneider is such a wonderful lone wolf. His collections are a solemn reminder of what matters in fashion design. Sensible fit solutions, exquisite fabrics and functional cuts that make for understated democratic silhouettes, which simply beckon to be worn. Perhaps these rhetorics do not resonate well with the contemporary flash forward generation. Or so you would think. On the contrary, Stephan’s work slowly reveals a meaningful backdrop of research and fabric innovation, rekindling what is important in this world: Creation that exists out of demand and is not merely fostered by want. Stephan always keeps grounded. He never questions his foundation or the path he once set off on. He simply creates. Here, we speak of escaping the homeland, the purity of emotion, working with a loyal team and how fashion can be seen as a coded sensory system.
Enjoy the quiet force that is Stephan.
Foundation: Could you tell me about your upbringing, and what first sparked your creativity?
Germany is where I am from. I was brought up in Duisburg, a rather nondescript industrial town. During my years as a teenager, I sensed clearly that I wanted to escape from there. At this time, I went to a boarding school in Yorkshire, England, where for the first time I got exposed to youth culture. These years, I grew up being fascinated by the traditional grammar school uniforms that were worn during the week on schooldays. This served as a stark contrast towards the gothic or new romantic outfits that were donned when we dressed up to go clubbing during the weekends. Suddenly I felt a certain energy in clothes… I guess my first fashion moments happened here.
Developed. Your journey led you from Germany to your home of many years: Antwerp. Your shop is here, as is the atelier. Could you tell our readers why you have developed so much here?
Initially, I got to know about Antwerp from a copy of i-D Magazine. They did a feature about the new beat club movement and this made me want to visit this city immediately. I fell in love with the morbid yet concentrated energy I encountered here. As I had not done any artistic studies before I enrolled at the Royal Academy of Antwerp, I ended up shaping my entire artistic foundation and roots here. The beginning of the nineties was a highly stimulating period for Antwerp. When I graduated in ‘94, it was natural for me to open my own store straight away. For me fashion is always meant to be worn and sold, it should not just exist as an image. Up until today, my shop has been in the very same location. If I look back, I would not want it any other way.
Dissect. If we take the foundation of the womenswear silhouette, what strikes you particularly?
For me it is about crafting pieces that can be worn. It is important for people to engage with the clothes. I want to create an ageless and undramatic silhouette for women. However, it should still be as recognisable and sophisticated as possible. In my opinion, it should be a placeholder for the wearer’s own identity.
Functionality. The garments all have a sense of understatement, but their fit is highly practical and utilitarian, would you agree?
When it comes to dissecting the collections, we take a lot of time to develop each and every style. My team and I fit every garment personally when we work on the collection. We draw all our patterns by hand in the studio, therefore we can create clothes that are functional but still soft, human and alive. This connection between construction, design and utility is very important to my work.
Tissue. Interesting also is your fabric research and the work with patterns and surface textures. Could you please describe your process?
Indeed, we work very much with research and profound exploration. I am always looking for new structures or patterns on fabrics. Often I create these surface studies or effects by myself. This process takes many hours of analysing the swatches, unweaving them, counting and measuring the yarns. This way I can create imperfections that make the material truly unique. Luckily, I have a close relationship with my suppliers and they understand my vision. A connection we built up over many years – valuable and dear to me. To be able to explore and conduct such controlled experiments is wonderful.
Exoskeleton. Clothes are often described as a form of protection, a shield we use to protect ourselves, yet also as means to express our individuality. How do you see this?
Personally, I do not consider fashion as a shelter, neither as a status symbol. To me fashion is a coded sensory system to communicate with each other. I have a lot of memories about the clothes I wore at important moments in my life. They have become embedded with certain phases I have lived. Garments are so much more. They can truly speak and express. My designs should simply strive to stimulate communication.
Duopoly. I like the fact that your men’s and women’s collections are very much connected but also have a very clear individual identity. Could you explain this a little to our readers?
Since the very first collection, I have used the same materials for the mens- and womenswear collections. I never understood this proposition that dictates that there has to be a different fabric story for men’s and ladies, even a different way of manufacturing. When it comes to my own line, I want both the collections to work together and communicate with each other, without making unisex fashion. You will not find the same garments in the collections but a detail or a finishing sometimes jumps from the men’s to the women’s, and vice-versa. I like this idea of subtle interchangeability. Furthermore, I also use the same construction, lining, shoulder pads for both. This gives her a more austere and him a gentler character.
Interact. You have a wonderful small team that has been with you for a long time. What advantages does this have?
Our small team allows me to stay focused and gives me time to set priorities. I want to invest all my energy into the product itself. My team allows me to maintain this particular mindset. Most of my assistants celebrated their ten year anniversary already! There is always a very energetic yet intimate atmosphere around the studio and atelier. It is important to grow together and to surround oneself with people that fully understand where you are coming from. This makes the end product even more profound and rich.
The man. As a brand you have never sought out advertising, you simply do your work. What is the narrative here?
As a designer, I never want to sell a set look or image by simply pushing a seasonal silhouette. I am more interested in creating garments with an emotion. They should be part of a sincere and palpable story. Next to this, I feel that they shape a certain mood or atmosphere, which draws in the observer. A strong collection, that is well balanced and well grounded, will always attract a customer more than one that relies heavily on any artificial visual construction.
Flaunting. I also want to return to new generations. If we keep in mind all those new graduates wishing to start their own brands: What would you tell them about how to keep focus?
To stay honest and ever passionate. The more you hear, the more you have to select and filter. Open your eyes but try to shut your ears every now and then.