Stylist Duo ___ Plaid Magazine. Fucking Young. The Ones2Watch.
“ It’s unnecessary to worry about what’s been done, just believe in what you do. ”
A BRIEF INTRO:
Kusi: I studied Business information systems at university. I eventually headed down a creative lane 2 years after the completion of my degree. I’ve always been interested in fashion and before beginning Tzarkusi I worked as a fashion assistant for Plastique Magazine, Purple PR, Vivienne Westwood & had helped in the running of Jean-Pierre Braganza’s London Fashion Week shows. This somehow enlightened me to start working on my own projects
Naz: I don’t remember a time I was not interested in fashion. I studied fashion design at university which further fuelled my obsession to pursue a career in this field. Working on my own project is an all new experience, before Tzarksui I interned and worked at PR agencies, fashion magazines and numerous fashion week shows
ElysiumEditorial: Creative collaborations are of course rife in the industry, though enlisting a set fashion sidekick is somewhat uncommon, how did the pairing initially arise?
TZARKUSI: There comes a point when you feel the need to challenge yourself. Having full creative input in what you do is vitally important. It’s even better when you share this platform with someone who has similar ambitions. Though sometimes we may have different opinions, it’s never a competition, but always inspirational. Randomly meeting through a mutual friend led to our collaboration
EE: An artistic vision is fundamentally a subjective entity, is it difficult to deliberate and potentially dilute your own idea on the advice of another? On the flipside, where might the perks lie in such a setup?
TZARKUSI: We don't always have the same ideas for a project, so we have meetings to help merge our thoughts and make them into a solid bulk of creativity we both believe in. We are similar in lots of ways so this process is quite an easy one, putting the whole show together is what takes considerable time – otherwise the setup really works for us
EE: A sterling sense of personal style is typically an innate quality, is styling a trade only viable to this naturally fashionable crowd?
TZARKUSI: It does seem to be the trade of the ‘fashionable’ crowd, it does occasionally seem to be a trade dependant on ‘who you know’
EE: London is currently the city in which you both reside, on an artistic level do you feel this is the best place to be?
TZARKUSI: London is certainly the place to be. It’s such a diverse city, full of inspirational and creative individuals. There’s so much happening creatively its overwhelming
EE: The visuals illustrated via your Tumblr feed are certainly eclectic – is this a handy tool on which to organise your varied creative inspirations?
TZARKUSI: The images posted on our Tumblr are works we appreciate on different levels. Occasionally the visuals are completely detached and unrelated to fashion, for us inspiration comes in so many forms. When we see something we like its uploaded and ‘stored’ for future reference
EE: Eclectic as they may be, there’s a strong impression of fashion editorial. Is it risky pondering over that which has already been created in a styling sense?
TZARKUSI: Everything anyone does now has already been done before in some way, what matters most is your personal take on things and how to make it your own. It’s unnecessary to worry about what’s been done, just believe in what you do and make sure it’s done to your best ability. It’s all about believing in our ideas no matter how weird or crazy they might come across
EE: Do you approach your work with a stringent idea or with a free spirited notion of what might occur?
TZARKUSI: A free spirited approach comes into place during last minute changes on set, but ultimately it’s not how we prefer to approach our work. Prepping before a shoot is a must for us, we completely avoid working if we haven’t planned ahead. It’s just so much better and time efficient. Obviously photo shoots don't always go to plan and that's when a free spirited tweak comes into play – though that rarely occurs
EE: ’30 Browns 2 Catch’ cleanses the fashion palette with its white wall backdrop emphasizing a pastel hue approach to the effortless outfits. The occasional kooky prop instantly modernises the authentic staging – Where did the concept for the shoot germinate and how did it progress to the visuals?
TZARKUSI: We wanted to do something which captures the 30s era with a certain modern twist. Something colourful with a sense of fun, a wardrobe constructed with the idea of an effortless look. I believe we managed to capture our vision, something which was completely untailored and modern
EE: Perusing your portfolio there seems to be a seismic shift from your initial illustrations of innovative design, to the recent sets that appear to favour a narrative of a believable reality e.g. Lost Boy Vs Somewhere. Is this a fair observation?
TZARKUSI: An accurate picture of reality is great when captured well but not always, an enhanced reality sometimes works better. ‘Somewhere’ definitely has a narrative approach compared to ‘Lost Boys’ which makes your observation completely accurate. We prefer working with a narrative approach more so now – telling some form of story through our editorial work
EE: The only constant feature of the industry is the yearning for change, how does this disposable quality of fashion effect what you do?
TZARKUSI: We really relish the seasonal changes though we only adapt for elements we’re fond of. It’s always vitally important for us not to lose our signature, the incessant chasing of trends would certainly jeopardise our ‘look.’ We feel it doesn’t allow you to be creative enough if you’re always watching the industry alter. We do what feels right at the time for us
EE: Visionary - a term bestowed upon very few creative’s, who do you feel is currently creating a vision of the future?
TZARKUSI: Riccardo Tisci & Alex Prager
EE: Elysium (E): A place or state of perfect happiness - When are you at your happiest?
TZARKUSI: Being by the sea, relaxing and thinking of absolutely nothing. Naturally seeing our work improve each time we do an editorial is also high on the list