At the end of a fashion shoot an idea came to mind!

Place a World War II helmet and gas mask on a model, shoot and vectorise the photograph, using silk screens print the images on tee shirts for Casual Society.

How easy could it be?
I admit that I set the quality level so high, that we went through three graphic designers and countless iterations, heated discussions, and production runs in vast arrays of fabrics and materials. A question that was posed time and time again throughout this process was, “What constitutes a good graphic, as opposed to a great graphic”. In my mind a great graphic is never complete.

In fashion design, branding and marketing, a great graphic, logo, or trademark can quite easily make millions of pounds. Great graphics also go through hundreds of iterations, without losing its core identity, appeal, meaning and message, whilst having the ability to morph and take on a new life with extended meaning, at each artistic iteration.

I think great examples of fashion logos are Lacoste, Adidas, Armani and Moncler to name a few. I feel that a great logo can be manipulated, time and time again, in an array of materials, fabrics, textures, effects, and embellishing techniques without losing its clarity, kudos and prestige.
We believe we have achieved a great feat in the design of FSLRs “Gas Man Logo”. Little did we realise at the time, that with all the tinkering, we were inadvertently creating a second brand, and a great logo with its own voice and meaning.

The logo carries a very deep message, which will be revealed in storylines as the brand evolves and grows within the conscience of the youth. We plan to hold creative R&D collaboration workshops in ways other brands do not. We will deliver workshops direct to our members, consumers, and audiences in very innovative ways.

Producing FSLR is a roller coaster journey day to day, when you’re running between and working in embroidery, print and accessories factories all in a single day. Then having to be in the office at night alone provides an adrenaline rush, but it also has very deep lows. Thinking up innovating ways of using machinery and re-engineering parts of a machine to give rise to a new design or graphic is always taxing and exhilarating.

The technicalities and buzz of mixing fabric textures such as velvet, suede, plastic, rubber, laminates, and other appliques to make a graphic image or logo for placement on a garment cannot be underestimated, in terms of the sheer volume of technical research, along with application and complexity issues delivers rewarding vibes and a feeling of deep satisfaction.

For me the design process is all about trial and error, the breakdowns and breakthroughs are challenging when pitching visual ideas, against the constraints of how a given material was designed to be used traditionally. These challenges of finding new innovative ways of using a traditional material for garment and graphic design is rewarding.

Having the pleasure and opportunity to push the boundaries of fashion and graphic design, through Fusilier London (FSLR_LDN) with experienced production teams consisting of senior master crafts men and women, graphic designers, and pattern cutters is also a highly fulfilling way to work, and I feel blessed to have the opportunity of doing the work that I do.