It’s a month before Theophilio’s SS20 runway show and I’m seated in Edvin Thompson’s bedroom-slash-studio as a crew of his usual friends and collaborators make their way in and out of his space. His energy is chaotic yet focused. And just like the Bed-Stuy apartment he works out of, he’s always overflowing with a million different ideas and emotions.
Piece by piece, he takes me through his most-loved looks for his forthcoming presentation, emphasizing the codes that make SS20 even better than its previous seasons. Ruffles, ruching, his signature fringe headdresses and grommet detailing, the evolution of Theophilio’s brand is apparent, with the DNA of the Jamaican-bred designer staying consistent through everything he does; leveling up since he first began his label almost 4 years ago.
“When I did my first show in 2016, I just wanted to do what I love which is design clothing,” Thompson reveals 5 weeks later after wrapping up his runway show. “After that collection, I really wanted to become a designer because the rapport was so good — I felt so liberated like it was my purpose. 2016 was the year I was just like ‘okay this is what I want to do nothing else.’”
Born in Kingston, Jamaica, the 26-year-old designer and creative director started off making comic book sketches after his family relocated to New Jersey. Shortly after a stint in Atlanta, Edvin managed to hone in on his design skills by taking advantage of free sewing classes at a neighborhood boutique. Fast forward to 2019, the Theophilio brand is thriving will little outside funding, while still managing to catch the eye of the designer-coveted CFDA.
I caught up with Edvin a few days after his electrifying runway show to talk sex, romance and self-expression.
Why did you decide to put this collection out right now?
I wanted to go on my own time. I was paying attention to the community that I had around my brand and I thought folks really fuck with my clothing, so doing my show October 19 and seeing the result of it made it even more worth it.
I think the messaging of a lot of these [fashion week] shows get lost in translation because you go to one show and feel a certain type of way. Then, you go to another show that same day and it makes you feel a certain type of way. I think that hinders the message for whatever designer it may be at that time. Branching off of that and following your footsteps, your community, people that believe in you and testing that out; it was a fortunate and dope experience for me to be part of.
What were some of the core themes in this collection?
I always want to carry my Jamaican culture within my collections, which is why I did pops of color, the shoes, the headpieces, the color scheme of the whole atmosphere of the venue. Even going back to some of the cuts and silhouettes in some of the garments and what they provoked. This particular outfit Jeme wore: champagne silk pants with a matching top, the romantic codes were very subtle. It had aspects of femininity but it had a masculine structure that grabbed your attention — it was very warm and endearing. That, and along with Lew, another gentleman that had the sheer chiffon blouse with rose embellishments throughout. I think it carried the story of romance and love throughout this collection. Also femininity and it being on a man’s body; that challenge was very beautiful.
Is there any symbolism behind covering faces or putting undergarments on the exterior?
That’s just me understanding moments of sex; us creating a verbal dialogue that would continue the conversation. Even with the headpieces and masks, you’re identifying with yourself rather than speaking. Your clothes will tell a story before you speak that story. When you come into a room with the garment you have on, you’re speaking to everyone before even saying anything. With the mask and full bodysuit that was power structure. It was like ‘I can really step into the world in this and folks will look at me as if I’m crazy but I will still be content with who I am, my self-expression, and my liberation.’
What were some of your favorite pieces in this collection?
My favorite is the full bodysuit because of the power structure behind that: you can go out and be naked and command attention, you go out fully clothed and still command attention. I think that’s a message in it of itself. Also, the last dress in the collection — that was my first time doing a dress of that structure and that was a challenge for myself.
I have to be very ambitious in regards to the clothing’s look — before I didn’t dive into having women be fully clothed, I was more pushing the dialogue of a man’s navigation in the world that confines their sexuality and masculinity. But I wanted to also talk about women in this collection, how women convey themselves and how they’re not tied to a structure. In regards to the second look, how she didn’t have any pants, it was a full leather top and a mask. That was hypersexualized for sure but commands a very strong power structure. I think that’s why I carry a lot of the headpieces, back to that again, throughout my collection.
What were some of the biggest challenges that you faced putting together this show and collection?
I think the biggest challenge for me in each collection is to continuously be as authentic as possible. I didn’t want the message in this collection to be lost in translation; I didn’t want to put out clothes just to put out clothes and then be like here is this is a vibrant collection full of skimpy clothing and makeup on models. I wanted it to be a bit more than that. Even with the venue, I chose a space underneath a church because this collection is a dedication to my grandparents, me finding myself, understanding my sexuality, and even how the people around me navigate that.
How would you say you’ve evolved both personally and as a designer since you first show in 2016?
I’m consistent as fuck, I’ll say that. I’ve done a show every year since. Last year I tried something different presentation-wise, but this year it was a full-on show. I think challenging yourself is the best way to navigate life and it promotes growth.
From my first collection to now, I wanted pieces to be a lot more wearable but still avant-garde. I wanted pieces you’ll wear a while, not two or three times and it’s destroyed. I wanted to level up in a sense. Even going back to the cyclops leather pants, that infrastructure in my brand will always be a staple in my collections. Leather with brown bits because that was my story when I first got to New York. The New York city grits, the edge. The edge to it for sure.
How you describe the Theophilio customer?
Innovators! I think a lot of folks don’t look at ourselves like we can make a change. I think my clothes evoke that in a sense because it’s so different from the norm. I would love a person that’s wearing my clothes to be that person, to be like ‘ I want to start this in my community, I want to become a trailblazer,’ I actually say that a lot. It’s people who are dope in their own right, who believe in what they’re doing, and who believe in just changing what society’s notion is. That’s the Theophililo customer.
The music for your runway was beautiful. What drew you to the playlist?
When I was a kid I used to watch the show So You Think You Can Dance. It has inspired me in promoting my music vocabulary. This song has stuck with me for 12-13 years, it has a very nostalgic feeling. Its called ‘In This Shirt’ by The Irrepressibles. This song is particularly about transitioning in love, and understanding love; everything that I was going through with the inspiration for this collection. Every time I hear that song it brings me back to a place where it’s just like ‘okay this is what love is, this is how love should feel.’ It’s just questioning a lot of things around love in general including romance, sexuality, power, and sensitivity. All of the things that I pushed in this collection.
What are your goals for the next five years?
The goal for the next five years is to have a store, to have a studio space, and to not just be a word on the street to New York but also a word on the street in Atlanta, in LA, London, and Paris.
If Rihanna invited you to a party at her house, what would you wear?
I would wear all white. I feel like white is a very ‘we need to talk to him,’ it’s a power move. Even when she wears white: it’s like who is she? Where is she going? What is she saying? What’s the message? I think that’s dope.
Photographer: Denzel Golatt
