A CHAT WITH HELENA BAJAJ LARSEN

A product of three cultures, France, India and Norway, 24-year old designer Helena Bajaj Larsen is a global designer in more ways than one. Her specialization is in luxury products made from hand-painted textiles spanning across fashion, accessories, wall art and home products. Currently, she works and lives between Paris, Dubai and Delhi.  

The brand’s early roots appeared as she presented her senior thesis collection to multiple panels and competitions in her last year at Parsons School of Design in New York. During this time, she was selected for several prestigious competitions (CFDA FFGS, YOOXIGEN Net-A-Porter, HUGO BOSS, Eyes on Talents), most significant of which was the Donna Karan Haiti Fellowship. in 2018, she took the leap and launched her practice through her selection into a prestigious Mumbai based launch-pad, the Lakme Fashion Week Gen Next Program. 

Since then Helena has been featured in several publications (Vogue, Elle, Harper’s Bazaar, Grazia and more),  received a number of emerging designer awards (CFDA, Vogue Talents) as well as been invited for global showcases during New York Fashion Week, Milan Fashion Week, London Fashion Week. 

The dream is to craft, bit by bit, a destination for all things surface related – a lifestyle concept going beyond product and encompassing all the areas of creativity the designer is passionate about. She remains open to where the practice will take her, frequently repeating: “Fashion was just the start”.

Model: Maya Ganguin

A CHAT WITH HELENA BAJAJ LARSEN

Describe yourself as a designer and how did you start? 

One word to describe myself as a designer would be interdisciplinary. The company is more of a textile design studio than a commercial fashion brand in the traditional sense. Surface design is at the heart of the work, and we are happy to take on a variety of projects beyond fashion as well. I started the brand in feb 2018 as I was selected for a launchpad program with Lakmé Fashion Week in Mumbai. They take 5 young designers every six months and fully sponsor their show during the fashion week (which is now India’s most prominent one). I had applied with my senior Thesis collection from my last year at Parsons and once they selected me things snowballed from there in terms of starting to understand the different components involved in starting a brand: press, production, sales, marketing, legal, etc. 


How do you manage the creativity process exactly?

It begins with photography, I travel a lot and take photos of all the new colors and textures in my environment that I find interesting. Then based on those images I develop color stories which will then serve as mood boards which I refer to as I create the textiles. It dictates the colors I use as well as the mark-making involved in the surface development. After fabrics are made, then they go to my unit where I send designs for garments that are to be cut from them. 

When did you land your first internship and what was the most valuable thing you learned from this experience?

I was fourteen and it was at Nina Ricci in Paris – as part of the french 9th grade curriculum you have to complete a very short work placement to get a feel of an industry you are curious about! I actually think that the biggest take away for me at that age was that the office environment and design teams were incredibly diverse. At the time I was in a very “frenchy-french” high school and to walk into a room where people all spoke different languages, had different backgrounds, styles, etc – was very eye opening. I realized the design industry is one in which you are rewarded for your differences and blending in is seen as a negative concept. This was the opposite of the Parisian high school culture I was so familiar with. After this there were many internships which taught me things perhaps more to do with design and the industry itself, but this was the first experience. 

What was your first job out of college, and how did you land that position? 

I didn’t really get a job out of college, I started my brand very shortly after – about six months post graduating. That being said, upon finishing Parsons I did a fellowship working for Donna Karan in Haiti for the totality of that summer. One could say that was a first job! I got that through a competition Parsons had held, where they selected three seniors for the award. 

What was the biggest rookie mistake you made when just starting out?

Working with the wrong suppliers – it was a painful process involving a lot of delays, theft, quality control issues.. Very disheartening at times. Took me some time to cut off ties that should have been cut off immediately. 

Whats the main impact of social media in fashion industry in both ways, fashion buying and brand marketing?

Overall positive I would say, it allows anyone and everyone to expose their product, breaking down barriers of culture, backgrounds, etc. That being said, I definitely think a lot of things are hyped up for the wrong reasons. I wish design was taken at face value – for what the object in question is, what it brings, what it does. There is so much around the object that becomes larger: who is wearing it, where they are wearing it, who endorsed it.. It is not a matter of art anymore, it is almost about pop culture phenomenons. Social media supports these tendencies with the influencer culture and paid campaigns, etc. 

What is your favorite and NON-favorite part about being part of the fashion industry?

Favourite is the creativity – I love that our trade is essentially showing and selling things that come straight from our imagination. It is a unique privilege in my opinion. An artist never truly retires and our work keeps us sharp (because of the need to constantly innovate, we can’t really take time off). Non-favourite part is the need to constantly be pitching yourself and what you do in an effort to convince that you are worth banking on, that you and your work are relevant. 

Model: Maya Ganguin

Can you tell us how your brand makes a difference in fashion industry?

I started the brand because I did extensive research on textile work in our times, print designers, surface design studios.. I didn’t quite see anything like the product I was aiming to bring forth. I thought okay let’s try. It is small at the moment meaning its impact has limits of course, I hope to grow it into a substantially bigger firm with a greater reach. Currently we pride ourselves with a zero-waste approach as well as small production quantities with great ethically responsible suppliers. Our production process is transparent and I am still invested at every stage. 

What do you think is the biggest challenge for a fashion designer?

1. Staying relevant, constantly maintaining your audiences captivation. 2. Understanding that the work comes with tremendous highs but also daunting lows. There are a lot of phases in the creative line of work. Sometimes things escalate quickly/you feel everything is moving along and other times it all comes to a stance /you can feel stuck. 3. The cash flow – there is a lot more money to invest before making profit on your work. In a lot of fields you invest your time for money, in this you invest both your time but also your financial resources to actually craft a product much before it is sold. 

Define sustainable concept nowadays in fashion industry in five words.

Ethical. Slow. Limited. Mindful. Inclusive.

Model: Maya Ganguin

How do you think sustainable can play an important role in fashion industry?

I think it should be embedded and be the frame of work for all that is done – to the point where there is no such thing as a “sustainable brand” anymore. Certain practices should become the norm. I think it starts with production – we as an industry make too much, all the time, and don’t sell all of it: it doesn’t make any sense. 

What do you think about the opportunity of selling your collections online nowadays?

I am working on going online though it is tricky as all my pieces are one-offs and the making time is long meaning immediate delivery and accurate replicas would be a challenge. That being said I am all for online overall, I think it is great. People want minimal effort to acquire goods nowadays (less transportation, less waiting time, best deals). Online makes it simpler for people to purchase, it is win-win in that sense. That being said, I myself am old fashioned and love a beautiful designed store I can spend hours in, try things, talk to sales people.. etc. Stores, online and offline, set aside, in-person designer to client sessions are also very unique and keep a mysticism around the brand. I guess it is about choosing what works best for your story. 

Imagine that you must write a letter yo your FUTURE SELF. What would you write?

Haha I think I would ask a lot of questions – where do you live, with who? What do you do everyday? Did you manage to achieve the things we wanted? How did the industry evolve? Help me prepare for the circumstances so I can avoid the mistakes? Are you happy? 

Model: Maya Ganguin

HELENA BAJAJ LARSEN

Published by Mira Postolache

Mira Postolache is a producer, art-director and writer based in Milan, Italy. Her works were published by REDMILK Magazine, COLLEZIONI Sport & Street, Vogue Talents, ELLE Italia, L'Officiel Malaysia, Schön Magazine, Trend Privé Magazine and more. She is also founder of 33 Magazine and KREEP. Studios + Magazine, a platform focused on new talents and artists worldwide. She ​shapes​ ​and​ ​communicates​ ​the​ ​unique​ ​visions​ ​of​ ​new​ ​talents involved​ ​in​ ​her​ ​projects and ​has​ ​a​ ​deep​ ​understanding​ ​of​ ​the​ ​dynamic​ ​cultural​ ​landscape,​ ​combined with​ ​an​ ​intuition​ ​that​ ​anticipates​ ​industry​ ​innovation.​ ​She​ ​creates​ ​a​ ​dialogue​ ​between​ ​brands​ ​and​ ​their target​ ​audiences​ ​that​ ​is​ ​integrated​ ​across​ ​print,​ ​broadcast​ ​and​ ​digital​ ​media.​ ​​Her​ ​background​ ​like​ ​human​ ​resources​ ​manager​ ​for​ ​more​ ​than​ ​10​ ​years​ ​for​ ​a multinational​ ​company​ ​in​ ​Italy,​ ​helped​ ​her​ ​to​ ​develop​ ​creative​ ​instructional​ ​planning​ ​in​ ​​neuro-linguistic programming​,​ ​leadership​ ​and​ ​communication​ ​skills​ ​for​ ​various ​start-ups in fashion.​ ​Her​ ​mission​ ​is​ ​to support​ ​emerging​ ​designers​ ​from​ ​fashion​ ​industry​ ​and​ ​thanks​ ​to​ ​her​ ​relationships​ ​with​ ​various​ ​leaders from​ ​th​e ​industry​ ​amplify​ ​the​ ​scouting​ ​concept​ ​for​ ​emerging​ ​talents​ ​to​ ​international​ ​catwalks​ ​and important​ ​trade​ ​shows​ and showrooms ​in​ London and Paris.

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