I am Lucille Thièvre. I am 30 years old. I live in Paris and I am the creative director of the brand I named after my own name – created in 2019. I chose this name to symbolise the honesty and simplicity of my approach.

I have always shared my time between the countryside and the city, living my early years in Paris, settling in the deep and beautiful countryside of Corrèze with my family, and spending the rest of my childhood there.
When I turned 18 and finished my general studies, I was eager to move to Paris and start a new chapter by studying fashion design at the Chambre Syndicale. They weren't the best years, to be honest! Very stressful, a lot of work and pressure. For me, these were not optimal conditions to develop a free and interesting design process. But I learned craftsmanship and a work methodology which constitute my added value now. I can design any garment from scratch, it gives me a lot of freedom in the process.

The brand is born from an inside look of the luxury industry. Working 5 years as a designer in prestigious houses in Paris gave me an overview of how the industry operates. As a beginner, I was able to understand, analyse and critique the functions of the companies. Then it allows me to imagine my personal structure with the intention to create soulful pieces. The goal is to design luxury pieces faithful to their artisanal roots. Inspired by the past to create today’s fashion.

When I started this project, my idea was to get rid as much as possible of any exterior fashion influence. I chose Les Ateliers du Wonder in particular because it is an art place. At the time I was the only fashion designer among thirty plasticians, musicians, art curators... It also influenced my process. I took time to explore what I had around me: inherited garments from the family closet, experimentations on fabric with tools to burn or deform. Furthermore, collaborative work was an essential part of my global process, therefore I conceived closing trims with a Wonder resident jewellery designer, a shoemaker as well – both local craftsmen. In other words, to avoid ready-made items to craft from scratch.

Designing garments based on an artisanal way is ok according to my current scale. The challenge will come when we have to step it up. The company's future will be optimised and industrialised to help the collection to reach a significant range of customers whilst still being one hundred per cent sustainable and local. Therefore, it is mandatory to enlarge the business scale without denying the craft identity. Using an innovative economic model as a concealer is key. I have several ideas to achieve this goal.
I focus on essential actions such as choosing local/national ‘made in’ as long as the performance industries are here, working with non-invasive techniques and materials, making good quality pieces that last, producing only what we sell, not two times more because it makes the pieces cheaper.
And, at last, to continue collaborating with the amazing savoir-faire of my generation and contribute to building an enduring French and local artisanal value.

The core of the first collection is the body's curves and lines as architecture. Feeling at one with the human body, playing with its sensuality rather than restraining it. Creating a dialogue between sensual fabrics and the body, cuddling and adorning it with impossible minerals, composing an intimate and precious piece around it. I tried to concentrate on personal garment archives from my mother, photographs and objects I grew up with. Experimenting on fabrics, specifically on a thin jersey for the first collection. I chose colours from the fields and earth of Corrèze. I played a lot with proportion, making big patterns and then gathering around the body to play with proportions, to figure wrinkles marked by the passing of time.
Being a finalist was very constructive regarding the discussion and advice I got from Natasha Ramsey and the jury while my work was still at the research stage. I also had the chance to have my work shared by the press very quickly.

I presented my last collection last July, off the menswear/Couture Fashion Week. It is inspired by the themes and techniques developed from the first collection, with more of a pop and distinct note in the colours. I worked more on tailoring, inspired by the whalebone body from the very beginning of the Renaissance, a reference that often comes up in my inspirations. I also worked around a surcoat from the 13th century that I saw for the first time in Lyon during an exhibition on Vivienne Westwood, one of the oldest garments in museum collections. I also developed a knit part on a knitting machine in my workshop, seeking the finesse and flexibility that I was able to express with a jersey before. Each collection is a complement to the previous one, an enrichment.

Paris has a deep fashion culture. It is specific, like in each country and even more because of local traditions and savoir-faire. The business going here is big, even more since the year 2000 with big corporations owning and expanding French fashion houses that were still family businesses at the time.
It is very much a money topic that makes Paris one of the centres of the world's fashion industry. It sure is and will be challenged in the future with e-commerce, and the Internet in general, exposing all the talented designers and crafts from all over the world. I wish we don’t lose our specific local savoir-faire on the way and that everything turns global.

I had the chance to isolate myself in the countryside, in a house I didn’t know, with dusty wardrobes from another century. This was an amazing playground and I had 3 full months to focus on designing with limited means. In other words, it was heaven to me since I love to get filled with and get easily inspired by my environment.
I feel the rhythm is back to normal now, even faster than before Covid. Shows and fashion weeks are back, and I am planning on presenting a new collection next September. My plans are to continue designing collections and to increase business and structure my company.