Paolo Sebastian
In literature, magical realism refers to an event which blurs the line between the real world and the realm of spirituality and magic. If I had to think of the best way to describe Paolo Sebastian, this would be it. Ethereal pieces. Detailed embroidery depicting stars and other celestial bodies. With their otherworldly charm, it feels as though there is some sort of magic beyond the physical realm stitched into each gown.
After chatting with Paul Vasileff, the designer behind the brand, I gained better insight as to why his pieces feel so mystical and how he as an artist gains inspiration for each collection.
“I love stories and fables and folklore.”
You presented your first collection at quite a young age, relatively speaking. You were seventeen years old. What guided you to the realization that this was the path for you?
I was in my final year of high school. I had been talking about it since I was thirteen or fourteen, so it was something I wanted to do for a very long time. Initially, I was making dresses from as early as three years old for friends out of scrap pieces of fabric that my Nonna or my mum would give me, then I'd go into dad's shed and make mannequins out of leftover pieces of wood. Then I would make dresses from there. I was just fascinated by this idea of creation. I think when I started to learn that this was a possible job path, it was all I could think about. I went to a David Jones fashion show, which is like a local department store here [in Australia]. I remember being mesmerized by the show and the idea of the runway and the models and the garments; the movement. I thought, 'That's what I want to do. I want to put on a show.' I just put in every waking moment and all of my energy into creating this. I don't think at the time I knew what my next step was, I just knew I needed to put this collection together and show it. It was such an amazing experience. I had the help of my family and my friends. The local community kind of banded together - it was really amazing to see and to have everyone there supporting me, wanting it as much for me as I did. From there, it took off.
I love hearing that it was such a collaborative project. One of the standout features of your collections throughout the years is that you have so many beautiful details sewn into every piece. Along with this comes a sense of storytelling. On your website, there are these little stories that go along with each collection. For example, The Wild Swans is accompanied by the story of the wicked queen and the heroine's mission to rescue her brothers. How do you come up with these background stories and why is it an important part of the creative process for you?
The storytelling element is so important because it helps get me creative and gives a purpose to the garments so that they're more than just clothing. There's a life to them and there's hopefully something that people can connect to and relate to. I think it helps make decisions like color palette and embroidery and there's a bit of a narrative behind it. I love stories and fables and folklore. So, I think it just naturally comes out in what I do and it's something that has developed over time. With fashion in particular, you don't always have to understand it or like it visually, but you can appreciate it and understand the reference points. Personally, I use the storytelling element to create reference points for people. With the story of The Wild Swans, there's so much that lots of people can find a connection to. I talk about this often with clients. I think we are different characters at different points in our day. You might like all the darker pieces in the collection and reject the lighter ones because that's more your personality; you might be a bit moody and a bit edgier. Or you might be very soft and delicate and you might gravitate more towards the feathers and the more delicate. I think that's what gives the collection a bit of depth is that story and that arc to it - those ups and downs - that contrast with light and dark. It gives a bit more weight to it.
As you're making the final garment, what are some of your favorite textiles to work with and some of the more challenging ones as well?
I love working with really soft French and Italian tulle. I find it gives that really ethereal-like quality. Once in a while, we work with a lot of feathers. That is a love/hate relationship. I don't mind them so much, I think the girls in the atelier will speak differently about them. They like the way that they look, but you have to be super delicate handling them because you don't want to bruise them. Velvet is a fabric that I love working with. It's beautiful but incredibly challenging. You have to be very skilled and take your time in working with it because you don't want to overwork the fabric. I love silk chiffon, crinkle chiffon in particular. You can do so much with it. It can be very painful at times, but the end result is very, very magical and whimsical. I think the safest fabric to work with is a silk crepe or something that, most of the time, does exactly what you want it to. That and tulle are probably two of my favorites to work with just because they always behave.
Looking forward to the future, are there any creative risks you'd like to take or any collaborations you'd like to be part of?
Yes, definitely. I think with each collection my goal is to keep pushing the brand forward and try new things. That's always really scary. As time goes on, I get more and more fearful that I'm going to do the wrong thing, but I've got a really great team behind me and hopefully, they'll kind of pull me up before I do a complete disaster. We've got a new collection coming out very soon, so we're very excited to share that with everyone [in reference to the since-released Moonlight Serenade collection]. In terms of collaborations, I don't know. Obviously, we've worked with Disney and that has been one of the most wonderful things that I've ever experienced in my life. I'm a massive Disney fan, so that collaboration was more than a dream come true for me. It was like a lifetime achievement sort of thing and I still pinch myself that I got to have that experience and got to go through that process with them - a few times now! We did the Once Upon A Dream collection and we did the Frozen 2: Elements collection, so it's always nice having that relationship with them. It's a company that's so close to my heart. I'd love to continue working with them.
If there's one artist you could share a conversation with, who would it be and why?
I'm a big fan of DaVinci. I think he was an incredible artist and about so much more than painting. He was an inventor, really. He understood human form and shape and movement, so I find him very interesting. In terms of designers, I would say Christian Dior or Coco Chanel because I think what they did was so revolutionary.
I always say overthinking is the thief of joy, just because it's so easy to get caught up in your own head and be really overly critical of everything. So, the fact that you've found what works for you and you're able to just sort of lose yourself in these worlds temporarily is helpful. Moving forward, what are some changes you think we'll see in the next 5-10 years in the fashion industry, or even just some changes you would like to see?
I think COVID has been a big game changer for the fashion industry. I think it was one of the first industries that was hit because it first hit around the time of fashion week. It kind of turned everything on its head because people weren't shopping. We were all in lockdown. There were no runways. No anything. People had to rethink strategies, which I think, in a way, was a really great thing because it was inspirational seeing people thinking outside of the box to still try to get their voice out there and heard. One thing I really hope for and what we're seeing a lot of right now is this return to sustainability. I'm a couture designer and that's obviously my focus - sustainable, handmade, and ethically made. I think the fashion industry is a big contributor to landfill [waste] and the benefit of couture is you're only making what gets ordered…It's more about the craftsmanship and the artistry and creating the pieces. They're pieces that last you a lifetime rather than just wearing them for one season. So, I'm hoping there's more of a return to the staple dressing and keeping things in our wardrobe and really building a wardrobe. I think so many people, as the years are going by, are becoming conscious of that. They're wanting to build their own style and a wardrobe that they can sustain and develop rather than just buy a whole heap of clothes for a season, then throw them out and get more at the start of a new season.
Do you have any words of wisdom you’d like to share with our readers?
I say this to anyone who's looking to follow a passion. It's definitely been a long journey for me, but it's been really wonderful and incredible. I've had great support around me so I would say to always remember those who have been there from the beginning. Those who are really there for you for the right reasons, and remind yourself of that. Remember where you came from and why you started on this journey. Always stay true to yourself and follow your gut. I say this all the time, if it doesn't feel right then it's probably not right. Feeling a little bit scared is a good thing because it means you're treading new water, but if it feels absolutely wrong then it probably is. That's probably the best advice that I can give. Also, just remember to always put your best self forward. It's not easy, but each day if you can try a little bit harder than you did the day before and give it your all, that's all that you can do. If you feel that you're doing the absolute best that you can possibly do, that's all you can do.
Understanding more about Paul Vasileff, his affinity for the whimsical and elegant, his love of storytelling, and his appreciation of true artistry, it becomes exceedingly apparent that through his designs, magical realism expands beyond literature into the world of fashion. After all, what could be more magical than creating character-based pieces that allow clients to build their own confidence and find a deep sense of self-expression?
(Perhaps a collaboration or two with Disney might add to that whimsical enchantment after all...)