INTERVIEW WITH JULIA LUNDSTEN
Julia Lundsten (b. 1975) studied Womenswear, specializing in Footwear Design, at the Royal College of Art in London where she graduated in 2003. She was noted from her original shoe collection that received the prestigious Manolo Blahnik Award in 2002 and 2003. Manolo Blahnik has described her shoes as "exquisite, divine and perfect".
In 2004, she launched her own FINSK brand, already noted for its unique style and strong vision and sold internationally from the UK to Japan. With an architect father and interior designer mother, Lundsten has an eye for design and structure. Some of her biggest inspiration has come from natural architecture, including buildings and furniture details, as well as structures found in nature.
Julia Lundsten works and lives presently in London as a freelance Senior Design Consultant at Marchpole where her clients include Topshop, Kurt Geiger and Jaeger.
Julia, how would you describe yourself?
I am Julia Lundsten, a Finnish designer working and living in London.
How did you become a designer?
It sort of evolved naturally. Growing up in an architect family, design was the most common topic at the dinner table so I suppose I was naturally drawn to it. I studied fashion, clothing design at the BA level until realizing that I preferred the more structural side of fashion and that shoes were a more interesting and suitable choice. I approached shoe design like architecture or furniture for the feet rather than conventional footwear when studying for my MA at the RCA. I try to keep this as a basis for my designs. For example, there is no need for a heel to have a ”heel-like curved shape”. It is not functional, and can therefore be changed. But a shoe should be flattering to the foot and the body.
What led you to study abroad? What made you stay?
I came to London to study when I was 19 years old. As I wanted to work in the fashion industry I felt London was a good place with the right cultural mix and a long tradition in fashion. London has some of the world’s best fashion colleges and therefore they are able to provide lectures and contact with some of the most influential designers and top industry people, and I wanted to be part of it. I still don’t consider that I have moved to London permanently! It is just the right place for me to work right now.
Tell about your work!
I have my own brand FINSK for which I design two main collections each year, Spring/Summer and Autumn/Winter. These are shown during the Paris Fashion Week. I also work as a design consultant for several British high street brands including Kurt Geiger, Topshop and Jaeger. I also try to accept and search for as many design challenges and projects as possible, for example designing shoes for the New York Fashion week show for Mary Ping. Basically, my work is my life and I really enjoy it.
Do you also work for Finnish companies?
So far I have not been approached by any Finnish companies/brands but I hope to work on some design projects in Finland in the near future as well as carrying on with my work in London.
Do you feel you are a Finnish designer even though you work abroad?
Yes. I think one's national identity is strengthened when working and living away from one's homeland. During my studies at the RCA I researched a lot of Finnish architecture and design, mainly from the '20s to the' 50s and found so many interesting factors, not only shapes, materials and techniques but also learning about the designers who shaped the future (present) of Finnish design. Most of them had extremely strong personalities and really liked to push boundaries. They were working on techniques and shapes that were not only new to Finland, but also new to the world and therefore some of them were recognized internationally before they were known in Finland.
Does Finnish identity or the heritage of Finnish design influence your work in some way?
I think the way most Finns grow up, surrounded by nature and space and the calm colours and tones of the Finnish landscape, will always inspire (at least subconsciously) most Finnish designers including myself. I prefer to use traditional, natural materials such as wood and leather but I try to do so in a new way, in my case in ways that are not commonly known in shoe production.
What is important to you in your own design work?
To trust my instincts and remain true to my own style.
Tell us about your own philosophy of design.
To always push boundaries and to never be too safe. Also to be able to look at my own work critically, always finding new ways to improve.
What is difficult in design – or is anything difficult?
To try to ”force” creativity. Designers will have good days and not-so-good days. The best ideas can come at very unexpected times, not necessarily before a deadline, which can be very frustrating. It would be wonderful if there was no pressure on time and one could be able to design on good days only.
When do you feel you have succeeded in your work?
When I see people wearing my shoes.
What are your sources of inspiration?
Everything. Different cultures, nature, architecture, human behaviour, machines, films etc.
What makes creating shoes design?
Unlike clothing design, a shoe is a defined shape that does not change its form when it is worn. Therefore, shoe design could be considered like any other product design. However, as a shoe is worn and is part of fashion, it should be aesthetically pleasing and functional on the foot as well be an object in its own right.
How does fashion influence your design work? Do you feel trends are useful or are they an impediment to your work?
I believe it is vital in any design discipline, not only in fashion, to be aware of trends. Whether a designer chooses to follow trends is another matter, but trends surround us in everything in life. I think I naturally tend not to follow trends, for when I have seen something it has already happened and I see no point in recreating it. I try to push my designs further to create something new and unique.
If you didn't design shoes, what would you design? Or would you design at all?
It is difficult to imagine what I would do if I were not a (shoe) designer, but I would definitely work in some other design discipline. I don’t think designers have to limit themselves to only one area but obviously new territories can be challenging and take time to study and research. Right now, my design thinking and my shapes work well on a smaller scale (like shoes) but it could be jewellery, glasses, cutlery or any other 3D object.
Can one let go in design?
Of course, and it is important to do so but without being gimmicky. Design should not be too serious. I think good design is simplicity with some intelligent twist not to make it boring. Unexpected surprises in design are also good.
What inspires you right now?
People seem to be much more open-minded towards non-conventional footwear. Consumers are also tired of bad quality mass-produced replicas of big brand signature looks. In general there are more people looking for unique, interesting shoes. For a designer this opens many doors and permits play with materials, shapes etc.
What's your greatest dream in design?
To educate consumers to understand and demand good design of the highest quality.
(5.9.2007 AV)
"However, as a shoe is worn and is part of fashion, it should be aesthetically pleasing and functional on the foot as well be an object in its own right."