As the name suggests, London-based Multistorey function on many levels within a broad creative field. Intentionally free from a discernible visual aesthetic, they readily admit to having “some form of identity crisis”. This is in part due to a work philosophy that requires every project be treated as a unique exercise to promote innovation while fully satisfying the client’s individual requirements. The exploration of materiality and structure is the common thread throughout their body of work: “We have always been interested in the tactility of our projects,” says founding partner Harry Woodrow. This goes some way to explaining their success in 3-D experience design, yet is also particularly suitable for the fashion industry, and specifically for Camilla Stærk who is known for her layering of texture.
With a friendship that stretches back over ten years, Stærk was well acquainted with the talents of Multistorey when she started her eponymous label in 2001. In 2006 she left her London company to set up her new label in New York called Stærk. Not only did Multistorey navigate this successfully, but their work throughout this period also adds to the visual record of the transformation.
Usually inspired by the seasons, Stærk explores the tension between antiquity and modernity, leather and lace. Tactility is a key feature throughout her collections and provides immediate common ground for Multistorey to work from. Direct, constructive dialogue between Multistorey and Stærk is vital, even more so now that they are not in the same country. Even while a collection is in development, Stærk is able to clearly articulate the direction it is taking, predominantly through defining her seasonal muse. This gives Multistorey adequate independent research and development time, together with the assurance that there will be no last-minute changes (except maybe to the time slot).
Multistorey particularly welcome the opportunity invitations provide to produce overtly creative solutions. For a select few, the weeks preceding a fashion week can become an invitation onslaught. With invitations arriving in bulk it is important to immediately spark the interest of the recipient. “Invitations need to be special and precious to stand out,” says Woodrow. “You can get a real sense of the personality of the collection, even from a flat piece of card. Due to the rise of digital technology, the value of a wellprinted object has increased. It’s a lot harder to ignore something in your hand than one in your inbox.”
While the seasonal reinvention of fashion was a particular pleasure for Multistorey over the years, Stærk’s transition to New York refined her visual direction. Working within a set template, a change of materials and production techniques is the single indicator of the change of season for invitations and lookbooks. Restricted to paper and print process, Multistorey directly interpret the key texture of the collection. Although the creative challenge has been somewhat reduced, the end result is a sophisticated and identifiable message that is indicative of the professionalism of the New York fashion scene. This development was initiated for Autumn/Winter 2007/08, and its collective benefit can now be fully appreciated.
Multistorey keep their focus internal and look beyond the graphic design industry, projecting a calculated and reassuring confidence to their clients. It is clear that an overwhelming sense of mutual respect is the key to their success with Stærk, something that possibly cannot be achieved through a more conventional, purely professional relationship.
Although Multistorey do not actively court the fashion industry, they have worked for a range of brands over the years. Woodrow defines the perfect relationship with a fashion designer as being, “When you understand their vision, you like and respect them personally, you enjoy and/or would wear their clothes, they trust you to surprise them, but any input they give actually adds to the end result instead of diluting it.” When you can describe your ideal so clearly it is undoubtedly easier to achieve your goals.
On leather texture paper, random folds of the Spring/Summer 2006 ‘Rumours and Lamentation’ collection reference the faceted structure of the Serpentine Gallery Pavilion in London where the presentation was held.
The invitations have been consolidated into a consistent template. Within this framework Multistorey focus on translating the materiality of the collection into the invitation to create seasonal distinction.
The Autumn/Winter 2004/05 collection featured lightweight chiffon juxtaposed with metal studs. An onionskin paper was used to simulate the delicacy of the fabric from the collection and when touched makes a very distinct, crisp sound. The translucence was used to echo a pattern of studs used in the collection.