Salamakhina – looking back and forward
Alexandra Salamakhina ranks amongst the most distinctive young designers to emerge from the Azerbaijan fashion milieu. Located in Baku, she takes her inspiration from the nature, carpet motifs, national dress and ornaments of her homeland. Alexandra recently unveiled her inaugural Spring/Summer 2018 collection during Paris Fashion Week at the 18th century Hôtel d’Evreux in the iconic Place Vendôme, and Neil Watson caught up with her upon her return to Baku:
You have just exhibited at Paris Fashion Week for the first time. Which fashions did you exhibit and how did attendees and the media receive them? The current collection has been produced on a ‘ready-to-wear’ basis. Each item can be purchased directly from the runway and combined with any contemporary fashion to create a unique look with an overriding national ethos. Before and immediately after the show, several local media representatives published or requested information about the brand and event itself. This is the most important aspect of the post-show period, as feedback and interest provide a lot of scope for brand development.
Where did you study fashion design? I wish I were able to tell a beautiful story about having dreamed of becoming a fashion designer since childhood and how I studied in the best fashion design schools. However, the only diploma I have achieved, to date, is an MSc in Environmental Management. I have now worked in this sector for 15 years. All I learned about design and fashion is taken from books, following guidelines and applying experience. My fashion design career started as a hobby
five years ago, and I initially designed silk scarves as a small colourful escape from my daily routine. I love symmetrical designs and repeated patterns, and scarves seemed the ideal format for my experiments.
What led you to focus initially on scarves/wraps and scarf rings? Over time, I decided to print my designs in new formats and to develop accessories for scarves. That year, we made a small- scale project alongside Georgian jewellers to create limited-edition enamelled rings that would suit the major scarf manufacturers (fitting our 110×100cm models). Each design took into account the complementary scarf colour schemes.
Are you personally responsible for all the designs? Through which stages must a design pass from initial concept to production? Regardless of the final use of each element, hand sketches have been realised in various colours. Each detail is clearly drawn, and then the same elements are repeated in a vector graphic version. For example, the Gozelim (My Beauty) pattern was developed over several weeks, each element being saved in various colour combinations.
Before the scarf or fabric pattern can be printed on the textile, we check the test prints, verify the colours and ensure accuracy of print registration. It is important for every element to be accurately realised to tight tolerances. An exception is the material that is derived from the ornaments found on ceramics and décor from
the Azerbaijani region of Lahic. In this instance, the original items are renowned for their uniqueness, and thus the fabric realised must reflect this
Which materials/dyes are used and where does production take place? An objective is to create a typically local product under the brand Made in Azerbaijan, although I have had to use foreign textile manufacturers, to date, located in such countries as China, Russia and the UK. Regrettably, the requisite quality of silk and cotton textiles is currently unavailable in Azerbaijan. However, we use Azerbaijani artisans to manufacturer belts, bags and other accessories.
How do you decide on which ornaments from Azerbaijani art and culture to use on your scarves/wraps? Each specific element has its own significance. For example, one design entitled Khemse features an element from the façade of the National Museum of Azerbaijani History. Its name is taken from one of the famous poems penned by Nizami Ganjavi (1149–1209). Fabrics have been realised in the shades of the main colours used in decoration of that building.
If I find a theme or ornament interesting and inspiring, I will research every aspect before using it on a design or accessory. For example, one of the most popular scarf designs is Garagashli (black-browed), dedicated to the famous Guba carpet. Its background colour is dark and replete with vibrant combinations. Each design has its own mood and message that we send to our customers.
Your designs are very precisely detailed, with clearly delineated lines for the symbols and designs. What made you decide on this type of design? I am in love with the decorative arts, and many artisanal handicrafts, whether on glass or wood, incorporate detailed decorative elements. This style is noteworthy for the accurate definition of each line, highlighting its key symbols and following the symmetry of figure placement. The reflection of this style on our fabrics makes our brand recognisable. Since we began to produce clothing, it has been a challenge to produce fabrics with the requisite level of print quality, but the result has justified every effort undertaken.
Where are your current customers based? Our silk scarves and wraps can be shipped over the world to all destinations and, in addition to our online shop, we have a retailer in Canada. For clothes and outerwear we generally work with local boutiques, as fitting is an essential when purchasing certain items.
Do you see yourself expanding beyond scarves/wraps, or utilising symbols/designs from beyond Azerbaijan? Any theme can be inspiring if it raises emotions in my heart. I need to feel and assess each project from more than solely a commercial perspective. When undertaking my designs, I look at both Azerbaijani art and art from across the South Caucasus, as several generations of Azerbaijanis have lived in this area. I intend to play my role in maintaining and evolving the art and traditions of my homeland in all my works and projects, as this is in my genetic memory. In my view, that which is created without soul will never bring the requisite level of emotional and financial success. I intend to follow my dreams, but will always keep my feet planted firmly on the ground.
