Meet Viktoria Marchev

It seems like people can pretty much wear anything these days, but what about silicone? Would you rock the rubbery material in your day-to-day?

Hungarian fashion designer, Viktoria Marchev, has been experimenting with the material for years, creating an incredible line of swimwear with the waterproof, enduring, and eco-friendly medium. We spoke to the innovative designer about her path to swimwear, the sustainability of silicone, and her advice for emerging designers in today’s world.

A self-portrait by Viktoria Marchev

Some questions with Viktoria Marchev

What drew you to the use of silicone rubber in creating garments — particularly swimwear?

I started my brand with swimwear. The reason why is because I felt a woman is most vulnerable when she is in swimwear. I really loved to go swimming when I was a little girl, but when I turned about 10-11 I started to feel uncomfortable, I couldn't really wear my own body or the attention I received as a young teenage girl. My upbringing was kind of on the conservative side, and it was more important to focus on "other values" than appearance. But to be honest I have seen too many marriages been torn apart by this so-called focusing on other values and not nurturing sexual self-expression. I wanted to, let me put it this way, "protect" women to feel comfortable in their skin wearing swimsuits, which are attractive yet do not show off everything. I used a lot of accessories to support this idea, lots of padding, wires, elastic bands, so that even when you put that swimsuit down on a table it would stand on its own as a sculpture. I loosened up from that, obviously, it was in a certain way an exaggeration, but it helped me to gain confidence, and hopefully, it helped other women who were struggling with the same lack of courage. With each and every collection I kind of left out more and more of this extra support and because of multiple other reasons I started to make my garments of silicone rubber where I apparently ended up on the other side. Now I send my models on the runway in transparent tops showing everything. I'm still looking for the balance. The material itself was an answer for my questions towards how to create unique pieces, yet repeatable technology, sustainability, flexibility and hold, and a lot of other things.

There is currently a large conversation around sustainability within fashion, calling many to rethink their current practices. How have you incorporated more eco-conscious modes of production?

I regretted when I needed to throw away leftover fabrics because of the way patterns need to be cut, so pouring exactly as much as you need seemed to be the right answer to me. Also, I wanted to be able to create my patterns (even 3D patterns), without the obligation of ordering hundreds or even just dozens of yards of fabric. With silicone, I can color and mold them one by one if I want to. And however, it can be a one-by-one process, after creating a mold it can be perfectly repeated. And there are plenty of other extras which came with the technology.

How has your background shaped your current work, if at all?

I studied architecture, even though I haven't finished. But for sure it gave me a way of thinking. The most important thing I learnt there was how important the design process is versus the making itself. If you spend enough time designing the details then the actual implementation can be extremely easy. To create neat solutions instead of banging your head against the wall.

What drew you to using more traditional techniques of construction, like crochet?

I just always loved to crochet. I love the freedom in it, how easy it is to put it to rest and then continue, I love that you can shape it any way you want to, that you can experiment without significantly wasting time or material as you can simply undo it and start it again. However, now that I thought about it within a different context it is the same idea that you create your own patterns and use exactly as much yarn as you need. But this was subconscious. In general, I think that if you don't think too much just act on positive impulses somehow you are attracted to the right thing. I consider it as the first step for me on a long journey and it gives me a peace of mind.

Do you usually show people your work before it is finished to get feedback? Who do you show it to?

Well, not necessarily. I am quite a private person. It is very rare that I show it. Sometimes to some people who I know love what I do and mostly just to update them on what I'm working on. Usually, I have a very clear concept in my mind and mostly I want to come up with that vision in my head. Every opinion on the road would distract me. Even positive ones. I would feel something is ready when deep inside I know it's not. Or I would be satisfied with some solution which is widely accepted but what is not what I wanted. I feel I need to keep my privacy to dare to implement what I imagined.

Do you have a favorite quote? What is it?

Well, it will sound conceited, but once I needed to write one and I feel that's the quote I need most of the time: "You don't need anyone's approval." (I'm sure other people have said that before me.) It relates to the previous question. I think it happens many times that certain things are not well understood when they are unfinished and you have to be a very persistent personality to really get to the point when it will make sense. And it doesn't only mean the making process itself but the whole vision of becoming a fashion designer on a bumpy road. Not everybody will understand the difficulties you will face, many won't understand why you undertake so many challenges when there are so many easier ways to get by. So you have to have a very clear inner voice and listen to that.

What advice do you have for emerging designers and small labels in the current climate?

Hold on.

Any final comments? (This is your electronic soapbox for one last answer.)

I think it's important to really love what you do but not to become obsessed with it. I am yet working on it. I really enjoy creating garments and tell stories with them. They are kind of a documentation of my life and whenever I don't come out with a collection that's exactly how I feel, what it shows as if I stopped existing. However I am working on other parts of my life behind the scenes at those times. I am trying to learn that life consists of multiple layers and that they build on each other. You cannot ignore any of them.

Viktoria Marchev