Designer @VictorVonSchwarz founded his brand in 2013. With local and artisanal production, his collections stand out for optimism, delicacy, freedom and a very skillful use of color. He has collaborated with brands and media such as H&M, Vogue or Fucking Young, was a finalist of Vogue Spain’s Who’s On Next and has dressed artists such as Rosalía, Lola Índigo, Aitana, Mala Rodríguez, Bad Gyal, Los Javis or Ester Expósito.

We interviewed Víctor during the photo shoot of the campaign for the 10th anniversary of Moritz Feed Doc, with Félix Valiente behind the camera.

When showing your brand to the public (on social media, on the website, at shows, in stores), how do you translate this spirit?

It’s very difficult, and I’ve learned that the best way is by building a team, surrounding yourself with friends and collaborators you understand each other with, who have references and a visual language similar to yours, with related tastes.

Do you like to show the brand in a very polished way, or with more naturalness?

The key is to combine both things. From the audience I’ve seen that, surprisingly, they like more real things much more. For example; in Stories I show more of the day-to-day, and it has more impact. The final result —the runway photo— you can see in more places. If you show the more personal side, let’s say, people see that this is a very hard profession, mentally and physically. As a designer you are a “cargo handler”, a producer, an accountant.

Do you tend to delegate?

I think you have to delegate, and still keep an eye on things. The economic side of the business, for example, you have to keep it in your head. You won’t do it as well as a professional, of course. I’ve now had the brand for 13 years, and I’ve been living from fashion for 7 years.

How do you organize the life/work division?

Chaos. I have clothes from the brand in my house, in my parents’ house, in the studio, in the studio warehouse. I try to separate it, for health reasons. One summer when I worked from home I realized I was finishing at midnight, I didn’t rest.

In daily life, designers deal with many people. Do you like this more social part?

Yes, it’s demanding, but it pays off to collaborate and create bonds and establish long-term relationships. Sometimes they may ask you for clothes for someone who is starting out, and I always think you have to help because you never know where that person will be in a few years, as happened to me with Rosalía. It’s very exciting to be part of the beginnings of an artist. In fashion you sow and then, sometimes, you reap. The only thing I handle badly is when a stylist asks you for clothes and doesn’t take care of them and damages the garment. When it happened to me at the beginning I was devastated. Now, if it happens, I get angry for a day and the world doesn’t end. But in general everyone works well and is professional.

Have you ever come to Moritz Feed Doc?

Yes! I’ve been to all the openings, I think. And Margiela, Raf Simons and Dior… Seeing Twiggy was incredible. I had my high school folders covered with photos of her. I froze, I didn’t dare ask for a photo. I really like models, there’s something magical about them. Photogenic quality is very curious; you see someone in person and it’s always different. There are people who are even more impressive in person, and when you interact with them you understand why they work for so many years. To give you a local example: Judit Mascó is an example of good manners and dedication. “We already have the photo”, and she still wants to take a few more in case it can be improved. In fashion, it’s key to give a little more than people expect from you.

Do you have an archivist spirit, of keeping all the brand’s production?

I try to keep everything; samples, photos, invitations, lookbooks, etc. It’s important, because it ties you to your generation and your scene.

With the passing of the years it’s interesting to make a genealogy of your own brand.

What happens is that when you finish making a collection, it hasn’t always turned out perfectly as you would like. You’re tempted to remove parts of it. But over the years I’ve looked again at designs from the beginning and they weren’t bad. There is a very valuable energy in those first works.

Which film from this year’s program would you recommend?

The documentary David Delfín. Muestra tu herida.