In an ever evolving world and in times of global change it is imperative that fashion keeps up. We should be looking toward a future of sustainability and practicality, especially when it comes to things we make and produce. This is one reason why Nono Leni caught my attention. Born in Milan, Nono Leni is an independent project which springs from attentive textile research for sourcing collections, extra-seasonal drops and private orders. The brand celebrates the excellence of timeless materials enhanced through deconstruction, thus renewing sartorial traditions. The process is artisanal from start to finish, in order to prevent waste and overproduction and resulting in high quality products and unique purchase experiences. All clothing is made in their atelier, no industrial processes are involved. Further, there is no reproduction. Everything is moving and evolving, unique and new. What you see is what you can have now and never again.
The label recently released Tropical Gothic and we spoke with the designer about their process, the collection and more. (see below)
The Brvtalist: Let's start at the beginning. Tell us a little bit about your history and then starting the brand.
Nono Leni: I studied Fashion Design between Milan and Helsinki, meanwhile worked with a retired menswear tailor and moved on in other luxury men tailoring brands atelier in London and Naples, so my formation is quite classical and academic. In the meantime I decided to start Nono Leni to focus more on my personal vision and to have the freedom to explore different fields as genderless or deconstructed garments.
TB: What was your inspiration and/or goals for it?
NL: I just want to make clothes, this is the purest way to make some good ones.
TB: Tell us a little bit about your production process.
NL: It starts with research, which is a daily routine. Curiosity helps to figure out the way to make things works. It might come from anything, the aim is to find the right feeling and atmosphere. Narrative is essential, it is needed to actually say something instead of just make an analysis. Music digging is probably the widest part of my research, mainly because its abstract form helps me to not get stuck only on visual references. Then the process is completely artisanal, everything from the pattern to the final garment is made by me by hand in my studio.
TB: How do you consider the environment and your impact with your brand?
NL: I’m not really into the fashion system, i don’t fit in its victorian mindset ruled by pharisaic games of power. I prefer a smaller environment ruled by passion.
TB: I also like that you never have any reproductions and don't necessarily follow a seasonal schedule which I feel is needed more in fashion. Talk about the fluidity of the brand and how you develop a collection.
NL: Yes, slowing down is totally needed right now and not just in fashion. As an independent brand I have the freedom not to follow any schedule so I can take the time to figure out exactly what to do with small resources. As I said before research is fundamental, as fundamental is the textile research, into which i spend a lot of time. Not making any reproduction allows me to have no quantity limits, so I can really search wherever I want. Living in Italy helps, lots of the best textile companies are here so its really easy to access to really high quality fabrics. Then traveling, I collect textiles from around the world (Japan, Myanmar, Thailand, India, Scotland) from local weavers. It is also easy to find hidden gems digging in massive deadstock warehouses. Collecting textiles is continuous, then when I start a project I decide what to use. The aim of every collection is to evoke the right atmosphere through the shapes and textures.
TB: Today we are featuring "Tropical Gothic". What's the inspiration for this collection and talk about some of the items.
NL: It started with a dream of a some kind of ritual in a dark ebony room with these three far east sort of shaman during a night thunderstorm. The air was heavy and humid and there was no light. I moved on to south-east asian mythology, spirits and demons, but also on asian horror b-movies. Here I found Nick Joaquin book “Tropical Gothic”, from which the collection takes its name, and I started working on this colonialist demonish aesthetic. All the garment names are taken from demons and ghosts from south-east Asia, like Krasue, a flying vampire head and guts, or Sundel Bolong, an Indonesian ghost, long black hair, white dress and a huge hole in the back.
TB: What's coming up next?
NL: I’m doing some collaborations with Milan based photographers and artists to shoot Tropical Gothic with their own personal vision. The photos will be out this fall.
Thank you to Nono Leni and for more visit their shop at: https://www.nonoleni.com/
-JRS
