Miss Crofton is the grl-gang we want to join; feminist and eco-conscious, the lingerie is hand-made in London to demand, rather than bulk or factory produced – and, of course, it fits like a dream. Influenced by childhood girlish laces and classically influenced tailoring designer Georgia Campbell translates this into modern taste and bodies. We discuss inspiration, gender and brand values.
Following the apparent death of Victoria’s Secret and their transphobic comment to Vogue in 2018, hardly covered over by later employing the gorgeous trans model Valentina Sampaio in 2019, we are collectively looking for a brighter lingerie future. Miss Crofton offers us more than hope. Featured in Petra Collins’ homage to the renowned painter of oneiric flora, Georgia O’Keffe, for The Tate, her lingerie helps visually write this reflection on self-expression. The quote “they could tell you how to paint their landscape, but they couldn’t tell me to paint mine” circles repetitively through the video. As Georgia consciously creates garments that feel personal and instinctive, she reminds us whose narrative underwear is best-defined by the wearer. She encourages us to paint our own lives for our own pleasure.
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Has lingerie always fascinated you? Tell us about what sparked your interest in fashion.
From a young age, I’ve always been fascinated by the prints and lace collars on my classic girly dresses my mother would dress me in. As a teenager, my boyfriend’s mum had a tailoring business and that’s when I first used a sewing machine. I loved the process of piecing together an idea into a design. I was hooked.
Where do you find inspiration?
This is always such a hard question as for me… Inspiration tends to happen subconsciously. I often get a sudden burst of inspiration but rarely would I be able to link it back to something.
Collection 6 was shot with model Fern Bain Smith lounging with snacks, what drew you to her?
I came across Fern through Daisy Walkers’ Instagram and I was totally captivated by her. When she came for a fitting, I was so inspired by her confidence and character. I like to work with women who inspire me. I think her character was captured beautifully by photographer Ariana Lago.
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Bodies represented in fashion are changing, do you identify with the ‘body positivity’ movement?
I mean, I don’t like to make a big thing about it. I just naturally choose people to work with regardless of what their body is like. We are very much come as you are. We never do any retouching on the images but that’s just what I find beautiful, it’s not to make a statement necessarily.
What does it mean to have your designs exhibited in Somerset House in Campell Addy’s photography series Engender?
I love collaborating with other creatives. I’m always excited to open those emails with requests to borrow our garments. It means so much. This was a particularly amazing project as we got to see our pieces on male bodies, which has inspired me to make a range for men – or people with male parts, however they identify.
Miss Crofton is a sustainable brand; tell us more about the green measures you take to reduce fashion’s environmental impact.
Low waste is extremely important to us. We only use end-of-roll materials and dead stock trims. Meaning we do not produce more materials, we just use up existing. Also, the very nature of our small-scale production and cutting techniques means we produce the minimum waste possible. We use up the tiniest bits of fabrics to make G-strings and give away surplus material to local businesses and charities.
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You create to empower the wearer, disobeying conventions of the male gaze. Who do you have in mind when you design?
I’m not sure I have anyone specific in mind. I design pieces that excite me. It might be a print or a shape I find flattering. I guess I try to imagine how it will make the individual feel.
In terms of colour palate, you favour soft pastels, injections of red and block whites, navy and black. What inspires your choice of colours?
Again, these colour choices are subconscious. I’m sure they come from somewhere, but the tones I feel like organic choices. Just simply what I’m drawn to at the time.
Would you say you experiment with traditional shapes – like bloomers – in a contemporary context?
Yes, I guess so. I’m really into the idea of sexy but practical.
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