chelsea grays: a conversation
All images courtesy of Not Just A Label.
Chelsea Grays is a designer who possesses the rare gift of translating her moti- vations and muses into physical works of art. Her straightforward and transparent approach to her craft has produced collections that are abundant with color, texture and a sense of relating to something that’s much bigger than fashion. Her commitment to understanding social injustices and inequalities make for vibrant and sentimental collections that are just what the fashion industry needs right now. The need for purpose and substance in today’s circumstance is something that all of us can attest to and it’s something that is hard to achieve without losing the initial intended message. To be able to express one’s empathy for the world around them while still assuming grace and skill is a talent that seems to come effortlessly to Grays and fashion enthusiasts are grateful to her for it. Whether she is operating in the States or abroad, Grays undoubtedly has the passion, artistry and dexterity to push the fashion world in a more compassionate direction. I was honored to have the op- portunity to ask Grays some questions regarding her work, inspirations and her time living and creating in Paris.
Grays’ voice is clear and determined and the proof is in the clothing. Inspired by politics and topics such as police brutality, inequality and injustice Grays was also inspired by the way her mother dressed growing up. Wearing clothes that were mostly masculine so she could give her hand-me-downs to her younger brother, we can see this inspiration in Grays’ collections. Oversized trousers and sweat- ers with diverse and varied prints such as houndstooth and plaids in colors such as olive green and warm oranges echo racks of Goodwills and thrift stores alike. In Grays latest collection called, Fashion is Oversaturated, her inspirations re- main but are elevated and more concentrated. Drawing on inspiration from San Fran- cisco’s Tenderloin homeless population, artist Jean Michel-Basquiat and the polit- ical climate, Grays has created a collection that feels heavy. Heavy in the sense that her inspirations are apparent in her creations. Layers upon layers of dis- tressed garments such as oversized tops and woven scarves with patchwork tatters reflect upon the displaced population any San Francisco native is familiar with.
Kailyn Chadwick: Describe your creative process.
Chelsea Grays: My creative process is free. I’m intentional about not having routine and following guidelines in order not to limit my creativity. Every time I create a new collection a new process emerges. For my recent collection, I started by finding abandoned street signs and turning them into super composition paintings which I later used as inspiration for my mixed media garment. I found fabrics, bought items from thrift stores to repurpose and started playing until I developed the final product.
KC: You have made it clear that you are a political designer through your work and verbally stating this. Since everyone has an opinion when it comes to politics, would you consider your work “controversial” in that sense? Have you run into those that oppose your work or projects because they are political?
CG: I wouldn’t consider my work to be controversial but if it became controversial this isn’t something I would oppose. I intend to raise awareness. Someone may be uncomfortable with talking about an issue but maybe more comfortable approaching an issue based on the way it’s represented, i.e. clothes. However, provocation is provoking ideas and possible change. I deemed myself as a political designer prior to the uproar that 2020 has brought, now controversy seems like a bandwagon.
KC: Politics, your family, and the displaced homeless population have been credited as inspirations for your work. Are there any designers in particular that you look up to?
CG:I honestly create clothes but I am sheltered when it comes to fashion. I never want to be overly influenced and I like the idea of being a part but an outsider. There isn’t a designer that I studied, I may see some pieces that interest me or even get inspired by a brand promotional aspect. However, I Do admire Yohji Yamamoto. There isn’t one item that I dislike and I feel a strong connection to the prints silhouettes fabrics etc.
KC: You are currently living and working in Paris. How are you finding new inspi- rations in your new environment and do they differ from the ones you had here in the US?
CG:Yes, I was thinking today of ways to boost my inspiration. This is the capital of fashion but the energy over the city is much different than in the US. I have a hard time getting inspired by my environment. My path to inspiration is frequently disturbed because of the nature of the city and I get most of my energy and inspiration from being outside. So, it’s similar to reading a book and after every sentence someone comes to tap you on your shoulder, you lose focus. This is a ruff city so people are always in a rush and very protected and surface-level so there’s a bit of difficulty having meaningful conversations with people that can provoke inspiration. You are your soundboard.
KC:Can you offer a comment briefly describing your transition from living and studying in the U.S. to moving to Paris? What was that process like and were there any particular difficulties you faced?
CG: The transition was a bit uncomfortable and based on faith. I had difficulties com- ing to Paris so I was late from class and I didn’t have everything situated with my hous- ing, I was just confident that I needed and wanted to be in Paris so I would figure every- thing out once I arrived. Not a method I would suggest. Getting adjusted once I arrived in Paris is something that I’m still trying to do. This city is of course beautiful, but the cultural difference, if not understood can be draining and stressful. Don’t get attached to one thing, one idea, etc. there has to be room for flexibility and understanding. This was something that I expected and didn’t receive so there was an adjustment. I needed to be in charge and hold myself accountable instead of expecting the teacher to hold me accountable. There may be a feeling of being unstable when trying to merge to the Parisienne culture.
KC: Since we have been in this pandemic for several months now, have you found it harder to draw inspiration for your work? Or have you found newfound influences and motivations from our “new normal”?
CG: My inspiration is normally from street watching, whether that’s seeing homeless people, people working out or going to work, or even trash on the street, my inspiration is derived from being outside. The quarantine in Paris was extremely strict which made it almost impossi- ble for me to be outside and of course, with no one outside I couldn’t street watch. My method for inspiration now is more conventional but I prefer my other original method. My original method allowed me to get an organic shape. Shifting to use the internet pushes me to think and find alternative methods of inspiration and creativity. My new normal is based on resources because on and off of quarantine I may not have access to assistance, fabrics, etc. There- fore I’m creating based on what I have, which makes everything more interesting and crafty.
KC: Where would you like to see your career as a designer in the next ten years? Or perhaps you see yourself doing something besides design?
CG: I am a creative so I definitely won’t limit myself. In 10 years I see a well-developed brand. At that time being a creative director in another successful brand. I haven’t contemplated on what exactly I’m expecting. I’m more of a go with the flow person but I see career stability and success.
