You mentioned in your exit video that you didn’t deserve to be eliminated. Why do you think so?
I just feel that my design wasn’t the worst as far as creativity or execution. It was just that unfortunately, I was on the losing team, and I will take responsibility, it was definitely my fault, but I think there were maybe other designs that were not so special.
Like who?
[Laughs] I just thought some fabric choices and some of the surprise elements, actually. The whole challenge was to have this kind of outerwear that does something interesting. To become longer or shorter was not that interesting to me and didn’t have that surprise design element to it, which I thought was a big part of the challenge, like my jewelry roll. I just wish I had executed it much better.
Speaking of execution, you said that your strong point is being a creative designer but that you lack in the sewing aspect. When you signed up for the show, didn’t you think that sewing was going to be a big part of it?
It’s not that I can’t sew. I was definitely prepared to sew with twenty cameras on top of me, but I guess what I was surprised about was being thrown into teams so quickly where you have that added pressure, especially with someone like Reco, who finishes his sewing in four hours and he’s kind of on top of you and so disappointed that you’re not done. So that was what really, I feel, didn’t work for me. Yes, I can sew and I can construct garments, but not in that kind of environment and maybe that was my fault for not realizing that it was going to be so intense.
We’ll be honest with you, Markus. We find it a little hard to understand that, with all the fashion shows out there, you wouldn’t know that you’d have to create, construct and sew a garment in that kind of pressure and time constraint and we keep hearing it from several of the designers on the show.
I definitely knew that. I knew it was going to be intense, that I’m going to work fast, that I’m not going to be able to make two samples, but when you actually get into that environment…to be quite honest, I didn’t think I was going to be thrown into a team setting right away. I thought I was going to be able to whip something out on my own. For me, I even felt like I was letting my team down, which caused a lot of pressure on top of the time constraint, lack of sleep, twenty cameras on top of your head. I was a little naïve about it.
We’re sure it’s a lot different when you’re actually there.
Yeah, you have this…oh, it’s going to be great, I can live up to the challenge, but it is definitely…I can’t really explain it, but it’s extremely intense, and I’m not making excuses for myself because there are definitely some designers who are still there, they can live up to the challenge, they can do it.
You weren’t really happy with Isaac’s comment calling you more of a dreamer than a designer.
You know, I think it was the heat of the moment. I am a dreamer and I’m proud to be a dreamer. I know my strengths and I know my weaknesses. I dream about clothes, I dream about designing gorgeous clothes for beautiful women and I will continue to do that and I will execute them beautifully. I think I was being a little sensitive in that moment.
You have a lot of experience in several segments of the design industry.
Yes, I actually started as a commercial interior designer. I did a lot of large-scale shopping malls, spas, restaurants, things like that.
You studied fashion in London. What was it like to be an American studying fashion in Europe?
I was so proud to be at Central Saint Martins where people I admire like McQueen and Galliano studied. I felt so honored to just be there, to have the experience of living in London and being in Europe for six years is something that I will never forget. It will always be with me, it will always show in my work. I definitely have an American sensibility; even in Saint Martins, at the end of the day, I wanted to dress women who are strong and beautiful and sexy. I want to make clothes that they can wear. At Saint Martins, it’s much more conceptual. A lot of the American schools spend much more time on the technical aspect. We had very little sewing at Saint Martins. I probably should have taken more classes, but they were more about building your voice and your creativity. We also had technical people at the university who would help us sew.
You interned at the Giles Deacon Studio. That’s a great opportunity.
Yes, I love Giles, he’s amazing. It was a wonderful experience. I love the way he works, because it’s such a poetic process, how he designs, and that taught me a lot; to let it come naturally, to really have your vision, your seal of approval.
You work for a magazine called Nolcha.
Yes, I’m the Fashion Director, and I love having that creative freedom where I can say ‘yes’ or ‘no’ or I can work with a team to bring my vision to life.
Is it different working for a fashion magazine as opposed to being a designer?
To be quite honest, no. Everything I do in my life is design and I think it’s parallel to fashion. Whether it’s looking at graphics or artwork, it all sort of relates back to fashion to me.
How would describe your style, your vision?
My style is definitely classic yet modern. I’m all about fabric selection, the cut and always keeping the woman in mind.
Who’s your ideal client?
I don’t think my designs will be for some little party girl. I like strong women who have something to say, who’s sure of herself, confident; she can be a mother, she can have a career, as long as she has a voice.
You’re working on your own collection, right?
Yes, I plan to show during Fashion Week in New York. My debut collection is going to be sexy, modern, strong, and a mix of hard and soft.
Did you enjoy your experience on the show?
I did. I’m proud of what I accomplished, I feel that a little bit of my voice was heard, I wish more
of it was heard, but I have no regrets, I have great respect for all the people that I met.Like who?
[Laughs] I just thought some fabric choices and some of the surprise elements, actually. The whole challenge was to have this kind of outerwear that does something interesting. To become longer or shorter was not that interesting to me and didn’t have that surprise design element to it, which I thought was a big part of the challenge, like my jewelry roll. I just wish I had executed it much better.
Speaking of execution, you said that your strong point is being a creative designer but that you lack in the sewing aspect. When you signed up for the show, didn’t you think that sewing was going to be a big part of it?
It’s not that I can’t sew. I was definitely prepared to sew with twenty cameras on top of me, but I guess what I was surprised about was being thrown into teams so quickly where you have that added pressure, especially with someone like Reco, who finishes his sewing in four hours and he’s kind of on top of you and so disappointed that you’re not done. So that was what really, I feel, didn’t work for me. Yes, I can sew and I can construct garments, but not in that kind of environment and maybe that was my fault for not realizing that it was going to be so intense.
We’ll be honest with you, Markus. We find it a little hard to understand that, with all the fashion shows out there, you wouldn’t know that you’d have to create, construct and sew a garment in that kind of pressure and time constraint and we keep hearing it from several of the designers on the show.
I definitely knew that. I knew it was going to be intense, that I’m going to work fast, that I’m not going to be able to make two samples, but when you actually get into that environment…to be quite honest, I didn’t think I was going to be thrown into a team setting right away. I thought I was going to be able to whip something out on my own. For me, I even felt like I was letting my team down, which caused a lot of pressure on top of the time constraint, lack of sleep, twenty cameras on top of your head. I was a little naïve about it.
We’re sure it’s a lot different when you’re actually there.
Yeah, you have this…oh, it’s going to be great, I can live up to the challenge, but it is definitely…I can’t really explain it, but it’s extremely intense, and I’m not making excuses for myself because there are definitely some designers who are still there, they can live up to the challenge, they can do it.
You weren’t really happy with Isaac’s comment calling you more of a dreamer than a designer.
You know, I think it was the heat of the moment. I am a dreamer and I’m proud to be a dreamer. I know my strengths and I know my weaknesses. I dream about clothes, I dream about designing gorgeous clothes for beautiful women and I will continue to do that and I will execute them beautifully. I think I was being a little sensitive in that moment.
You have a lot of experience in several segments of the design industry.
Yes, I actually started as a commercial interior designer. I did a lot of large-scale shopping malls, spas, restaurants, things like that.
You studied fashion in London. What was it like to be an American studying fashion in Europe?
I was so proud to be at Central Saint Martins where people I admire like McQueen and Galliano studied. I felt so honored to just be there, to have the experience of living in London and being in Europe for six years is something that I will never forget. It will always be with me, it will always show in my work. I definitely have an American sensibility; even in Saint Martins, at the end of the day, I wanted to dress women who are strong and beautiful and sexy. I want to make clothes that they can wear. At Saint Martins, it’s much more conceptual. A lot of the American schools spend much more time on the technical aspect. We had very little sewing at Saint Martins. I probably should have taken more classes, but they were more about building your voice and your creativity. We also had technical people at the university who would help us sew.
You interned at the Giles Deacon Studio. That’s a great opportunity.
Yes, I love Giles, he’s amazing. It was a wonderful experience. I love the way he works, because it’s such a poetic process, how he designs, and that taught me a lot; to let it come naturally, to really have your vision, your seal of approval.
You work for a magazine called Nolcha.
Yes, I’m the Fashion Director, and I love having that creative freedom where I can say ‘yes’ or ‘no’ or I can work with a team to bring my vision to life.
Is it different working for a fashion magazine as opposed to being a designer?
To be quite honest, no. Everything I do in my life is design and I think it’s parallel to fashion. Whether it’s looking at graphics or artwork, it all sort of relates back to fashion to me.
How would describe your style, your vision?
My style is definitely classic yet modern. I’m all about fabric selection, the cut and always keeping the woman in mind.
Who’s your ideal client?
I don’t think my designs will be for some little party girl. I like strong women who have something to say, who’s sure of herself, confident; she can be a mother, she can have a career, as long as she has a voice.
You’re working on your own collection, right?
Yes, I plan to show during Fashion Week in New York. My debut collection is going to be sexy, modern, strong, and a mix of hard and soft.
Did you enjoy your experience on the show?
I did. I’m proud of what I accomplished, I feel that a little bit of my voice was heard, I wish more
Thank you and good luck to you, Markus.
Thank YOU.
Markus sent us pictures of his degree collection from Central Saint Martin's College of Art and Design 2006:
[Photos: Courtesy of Markus Ketty/BravoTV.com]
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