“I find immense satisfaction in the process of turning raw materials into valuable artifacts that enhance the wearer’s silhouette and make it glow.”
Personified by a beautiful and sophisticated amalgamation of science fiction, extraterrestrial world-building, and masterful craftsmanship, Victor Clavelly’s designs stand alone. Discover the extravagant world-building of this Parisian designer. Drawing inspiration from video games such as Sekiro and Bloodborne, Clavelly became infatuated with the idea of storytelling through his work, both games being known for their strong story elements and immersive worlds.
Victor’s garments are not only intriguing for their lore and connectivity but also for how they transform the person wearing them. Donning one of his designs, you can become a sleek, black, angular, alien-like figure, or a neo-medieval knight. Legs might transform into hooves, resembling something animalistic or otherworldly. Each piece allows you to become a customizable avatar, limited only by the ever-expanding imagination of Victor Clavelly.
I got the chance to talk to him about his creative processes and ambitions. Here’s what he had to say:
What’s does your production process look like right now? Take us through from planning to production to the final physical garment.
Victor Clavelly: I don’t have a developed production method, really. It’s the part of the fashion pipeline that I find really boring. I don’t have the patience to do it properly, but I know I have to learn because it’s the way to make money in this industry.
You’re able to conjure these wild silhouettes with your garments, do you view them as an extension of the human form? Or are you rather trying to change the human form altogether with your pieces?
Victor Clavelly: I like to think of my garments as armor or prostheses that extend bodies, make them stronger, and emancipate the wearer. That’s really what I enjoy about this medium — deforming bodies and telling stories through very technical, distorted silhouettes, drastically transforming the wearer.
You’ve mentioned games like Sekiro and Bloodborne as inspirations. What is it about the character design and story plots that particularly intrigues you?
Victor Clavelly: Before studying fashion, I wanted to be a character designer for video games. I learned 3D design in high school. I wasn’t interested in fashion at all.
Is the world you place your characters in set-in-stone, or does change and evolve as you continue to design?
Victor Clavelly: The lore I’m building has basically been defined for five years already. I already have the overall story and the world-building mapped out, so I am able to enhance that with each collection.
Has there been a transition for you in your design process now that you’ve graduated from design school? How has that been, the change from designing in a more structured environment to having total freedom?
Victor Clavelly: It’s a total mess. I wasn’t prepared at all during school as far as professionalism and how to make money in this industry. I graduated during COVID, so I couldn’t find any jobs. Still, I did 3D designs as a freelancer for a while, and I had to find a way to keep developing my work. I shared an atelier with friends and invested all my time and money into personal projects. I’m not sure if that was the best way, but I’m happy with where it has brought me now.
How has your process changed since your earlier collections such as STRONG 9?
Victor Clavelly: It didn’t really change. For that collection, seven years ago, I started making garments with Maya and SketchUp. Now I use almost the same process, but it’s much more efficient. Even back then, I already had the foundation of everything I’ve developed since.
Scrolling back on your Instagram, you seemed very interested in photography. Are you still? How has this interest affected the way you present your collections?
Victor Clavelly: I’ve been doing CGI for about ten years now, so imagery and narration are very important to me. I love making it — storytelling is the core of my work. Fashion is just the medium I’m using now, but it’s not mandatory, and it could change.
Do the colors each character wears signify anything? You don’t seem to use much color, but when you do it’s very rich and impactful.
Victor Clavelly: I’m not a very good colorist, to be honest. I’m more focused on shape and material, which already convey a lot of information through the silhouettes.
What do you want people to see when they look at your collections?
Victor Clavelly: I like giving some narrative thought through the image and characters. It’s fun to see how people interpret the story — it’s always very interesting and often aligns with my vision.
How would you define creativity?
Victor Clavelly: Creativity lies in trying to create something by any possible and imaginable means. All mediums are valid as long as we make them our own and seek to tell something new. There's no point in imitating or following conventional processes; we must take risks and aim to transcend the tools at our disposal.
What advice would you give to younger creatives who are just starting their own brands or fashion journeys?
Victor Clavelly: Good luck to you. The only way I’ve succeeded in earning money is by proposing things that aren’t commonly shown in this industry. People will get interested if you bring a different vision, new techniques, and so on.
What are you working on now, and what do you plan to show the world next?
Victor Clavelly: I’m working on a new collection that I will showcase around March, as well as some secret special projects.
