Norwegian talent in London
Kristian comes from a city where it rains 260 days a year and you can buy umbrellas from wending machines on the street corners. One would think that designing fashionable rain coats would be spot on, but Kristian had other ideas. After finishing his education at Bergen Yrkesskole, he moved to London to pursuit a MA at the Royal College of Art.
You went straight from school to become the chief designer at Harrods. How was that?
Harrods is not as big as some of the other design houses, but they still have earned recognition. So getting my first job at Harrods with so much responsibility was really good. It’s very hard for newly educated designers to get a paid job. Normally they have to spend time building a portfolio, before getting a paid designer job. But I had a strong graduate collection and I got lucky.
So a strong graduate collection combined with good recommendation and good contacts got you the job?
When you study at a world renowned design school with good connections, and you excel in you studies, they will recommend you within the fashion industry. So when I finished my studies, I spoke to several big design houses like Gucci, Burberry and Lanvin.
How did you get the job as an assistant for Alexander McQueen?
I got the job through good contacts at my school. When it comes to fashion, it’s all about building network, getting good contacts and recommendations. As a young and aspiring designer, it’s important to work for a major designer. That’s where you really learn. Working for Alexander McQueen has been the most important experience in my career so far. He was so creative and he did everything in his studio. I was able to follow the entire process from design to the item being sold in the stores.
But you only worked with him for a year?
Yes. My ambition was to learn and not just work for a famous designer. So it was a part of my process to gain more experience.
Your real breakthrough as a designer came in 2004 when you established your own label and made your debut at LFW. How did you attract so much attention at your first show?
First and foremost I think it’s because people like my clothes – it’s very wearable. When people like it, I also get press coverage. I also used my network to get people to come and see my show. It’s always hard in the beginning and from there you have to build your way up.
How did you attract the attention of Versace? Did you contact them?
No, they actually contacted me. I don’t know how my design caught their eye, but most probably people in the industry told them about my designs and they liked what they saw.
Versace has from late focused on young up and coming designers and it was through the Protégé Project sponsored by the Australian Wool Innovation they contacted me.
It was, if not a turning point in my career, very important for me to work with such a big design house.
Today you have several designers working for you. How has the transition from doing most of the work yourself, to letting others do most of the work?
I’ve never worked completely alone. I’ve always worked with a team. But it has been a gradually process where I have allocated different tasks to other people and I start supervising the job rather than having hands on. This allows me to focus more on creativity and almost act as an art director.
But having a tailor background is of tremendous help when I need to explain what I want from my designers.
What are your biggest challenges as a fashion designer?
Running a business is always a big challenge. You start with very few resources and you have to create something that has high international standards. You always have to work hard and you need to build your network. Finding a good team is also difficult.
What are your goals for the near future?
I want to grow and expand – design something more than just women’s clothes. I also want to do some collaboration and I keep an open mind as with who and what.
So soon we’ll see Aadnevik perfume?
He,he – maybe. But first I’ll be looking at designing shoes and bags. It’s difficult to design shoes and currently I collaborate with Walter Stiger.
You have dressed a lot of stars. How important is that for you?
It’s very important for me – it’s the best PR I can get. Good press coverage means increase in demand. But I’m aware of what celebrity I want to dress up, because they must represent values that my brand can stand behind
See more info and images from Krisitan Aadnevik here.
Photo: Steven Stieng