'As The Crow Flies' Part 2
Approximately 3117 miles North-East of New York City you will find the Australian designer \Kevin Azzopardi now based in Norway’s vibrant capital. Kevin designs a self-titled label that simultaneously acts a platform for the exploration and experimentation of fashion as a creative medium. Drawing inspiration from the process of making, Kevin Azzopardi is focused on analyzing conventional methods of construction and finding new ways to assemble garments. The outcomes see the fusion of the structured and the fluid, and represent a modern take on everyday clothing.
As someone with lively nomadic tendencies, what level of creative grasp does the area in which
your based have on your work?
Lively nomadic tendencies, I like that. Although I’m not sure it's an accurate description of me since
I've been based in Oslo for the last 3 years, beginning my self-titled practice in 2010. Although it's
a small city, Oslo has a burgeoning design scene with individuals discovering their own pathways
through various creative industries. It's inevitable that one's local surrounds will have an impact on
them in some way, and as somebody who's incredibly porous I am constantly absorbing from what I
see and feel around me. My experience of the local landscape always finds its impact on my work
How would you decipher between the general public and your imagined customer? For those as yet
unaware of the label, what is it you hope to carry through your garments to the wearer?
My imagined customer is somebody who understands style. They don't necessarily need to
stand out in a crowd - although they could - but they communicate strength of character and an
appreciation for design. Having said that, I don't actually care who wears my work. The beauty of
fashion is that individuals own it and they are given the opportunity to re-contextualise it and to
communicate it according to their own volition. Seeing how different people wear my work is in
There is a blatant experimental quality running throughout the entirety of your design archive. Does
this keen eye for innovation become the sole narrative season after season?
Thank you. The opportunity for innovation is incredibly inspiring. When I conceive of a collection
or a series of collections, I’m looking for a concept that can sustain my interest and support my needs. Some people find thematic work really interesting, others take their inspiration from a styling perspective. My voice resonates best in a room whose walls are conceptual. It's not something I force each season, it just what comes naturally.
Imagine in the distant future your filtering the creativity of your works into an informative written
account, a design biography of sorts. What laudatory blurb might entice any prying eyes and does a
scintillating header spring to mind?
I would most likely hire a publicist at this point and if they do their job well they'd hopefully mention
the following points. My design has always been a product of process. My label successfully
combines craft techniques with innovative industrial processes. Aesthetically my work is directional
and accessible, and confident without being pretentious. Finally, by simultaneously reaching back
and pushing forward the work is able to transcend time.