Irish designer Simone Rocha in one of her trademark Broderie Anglaise creations

Bodil Blain: How do you take your coffee? Simone Rocha: Black with ice. On a doily. Anyone who spends a bit of time with me leaves knowing how to crochet.

Bodel冻疮:你怎么拿你的咖啡?SimoneRocha：黑色和冰。多愁善感。任何花时间陪我的人都会知道如何钩针。

BB: When did you first realise that you were creative? SR: I always worked in my dad’s studio, who was a designer. He had a full fashion studio in Dublin and I was always just hanging around from about the age of 13. I was never going to do anything academic, but it was probably when I went to art college in Dublin and one of the tutors persuaded me to take the fashion module. I did my project on nurses. I printed all these images of how they used to make the old nurses’ hats and wondered whether I could make skirts out of that type of construction. My brain just started working. I realised then that that was how I could make emotion, through clothes.

你什么时候开始意识到自己很有创造力的？我总是在我爸爸的工作室工作，他是一名设计师。他在都柏林有一个完整的时装工作室，而我从13岁起就一直在闲逛。我从来不想做任何学术上的事情，但可能是在我去都柏林的艺术学院时，其中一位导师说服我上了时装模版。我做了关于护士的项目。我打印了所有这些图片，说明他们过去是如何制作老护士帽的，我想知道我是否能用这种建筑做裙子。我的大脑刚开始工作。那时我意识到这就是我如何通过衣服来表达情感的。

BB: Who’s been your biggest influence? SR: I’ve always been obsessed with Louise Bourgeois. Sadly she died before I got the chance to meet her, but I was lucky, I got a chance to visit her home and I do a lot of work with her foundation. I’ve done printed matter with Bourgeois images in it, and there are some of her pieces in my store on Wooster Street in New York.

谁是你最大的影响力？史：我一直迷上路易丝·布尔吉。不幸的是，她在我有机会见到她之前就去世了，但我很幸运，我有机会拜访她的家，我和她的基金会一起做了很多工作。我做了一些印刷品，里面有资产阶级的照片，我在纽约伍斯特街的商店里也有她的一些作品。

BB: Your work always tells a story. Where do you find your stories? SR: It comes from something personal. For one collection, I was in Japan, I was pregnant, feeling a bit weird and there was cherry blossom everywhere. I felt alienated, out of place and I started the collection from that feeling. I was thinking about how I could integrate the cherry blossoms into the fabric. At Château La Coste in Provence (W*214), I saw this amazing Louise Bourgeois spider on the wall. I made some of her shapes into embroidery, some into 3D shapes. So it flip-fops between the two – it can be a specific artist or item, or it can be a place. It’s hard to describe.

你的作品总是讲故事。你在哪里找到你的故事？史：这是私人恩怨。有一次，我在日本，我怀孕了，感觉有点奇怪，到处都是樱花。我觉得自己被疏远了，不合适，于是我从那种感觉开始收集。我在想如何把樱花融入布料。在普罗旺斯的拉科斯特(W*214)，我在墙上看到了一只令人惊异的露易丝·资产阶级蜘蛛。我把她的一些造型做成了刺绣，还有一些变成了3D造型。所以它在两者之间翻滚-它可以是一个特定的艺术家或物品，也可以是一个地方。很难形容。

‘I realised then that that was how I could make emotion, through clothes.’

“那时我意识到这就是我如何通过衣服制造情感的方式。”

BB: It’s one thing to be an artist, but with your work, it goes onto a person and becomes embodied by them. SR: Exactly! That’s what’s so interesting to me about fashion, it’s physical, human, it’s functional. You have to be able to put your head through a hole, you know, and walk around in the work. I always want my clothes to integrate into someone else’s personality and style. That’s why people in their sixties wear my clothes, people who are sixteen wear my clothes. It’s not about a certain architecture I create, that I want other people to fit into, but the other way round.

作为一名艺术家是一回事，但是随着你的作品，它就会变成一个人的化身。没错！这就是我对时尚如此感兴趣的地方，它是物理的，人的，它是功能性的。你必须能够把你的头伸进一个洞里，你知道，在工作中四处走动。我总是希望我的衣服融入别人的个性和风格。这就是为什么六十多岁的人穿我的衣服，十六岁的人穿我的衣服。这不是我创造的一个特定的架构，我想让其他人融入其中，但反过来。

BB: Who do you design for? SR: My last winter collection, Marching Roses, was based around the concept of strong women and I wanted all different types of women to embody that. It comes from the clothes. It’s not like ‘OK, I need Kate Moss.’

你是为谁设计的？Sr：我最后的冬季收藏，MarchingRoses，是基于强壮女性的概念，我希望所有不同类型的女性都能体现这一点。它来自于衣服。不是说“好吧，我需要凯特·莫斯。”

BB: I feel like there’s a strong vein of creativity that comes from being displaced from your homeland, whether forced or by choice. Is ‘home’ part of what you do? SR: I’m very proud of being Irish. I go home a lot, actually – it’s very close and my other half is Irish as well. I love going back now, but I have to admit, I hated a lot of growing up there. Then when I moved to the UK, I got very homesick, romantic and nostalgic for my Irish upbringing. I started getting interested in the history of Ireland, I got obsessed with Irish writers and poets, which is really funny, being dyslexic. Half the time, I’d have to go back and read over what I’d just read, but I loved it so much, it didn’t matter. I read a huge amount of almost exclusively Irish novels now.

我觉得有一股强烈的创造力来自于你的家乡，不管是被迫的还是自愿的。“家”是你工作的一部分吗？我为自己是爱尔兰人而感到骄傲。事实上，我经常回家-这很近，我的另一半也是爱尔兰人。我喜欢现在回去，但我必须承认，我讨厌在那里长大。后来，当我搬到英国时，我很想家，很浪漫，也很怀念我在爱尔兰长大的经历。我开始对爱尔兰的历史产生兴趣，我迷上了爱尔兰作家和诗人，这真的很有趣，阅读困难。有一半的时间，我都要回去读我刚读过的书，但是我非常喜欢它，这并不重要。我现在读了大量的爱尔兰小说。

BB: You’ve come a long way in a short time, does it feel that way? SR: Yeah, it happened so fast. At school I wasn’t very academic, but I loved college, it gave me so much energy. I kept working and got all these amazing opportunities. I moved to London for my MA and the fashion world was print-orientated, but I did my MA show all in black, inspired by the Aran Island mourners off the coast of Ireland. When people died, the women used to wear their petticoats on their heads as a mark of respect. It was all-black tailoring with these petticoat hats, quite restrained but it felt right for me at that time. I had no idea what to do afterwards, when I got a call from Fashion East and it built from there. Then I just focused on making really good products for DSM until I got my own store.

你在很短的时间内走了很长一段路，有那种感觉吗？是啊，事情发生得太快了。在学校，我不太学术，但我喜欢大学，它给了我如此多的精力。我一直在工作，得到了所有这些令人惊奇的机会。我搬到伦敦是为了我的硕士学位，时尚界是以印刷品为导向的，但在爱尔兰海岸的阿兰岛哀悼者的启发下，我用黑色做了我的MA秀。当人们死去时，妇女们常常把衬裙戴在头上以示尊重。这件衣服全是黑色的，戴着这些衬裙帽，很拘谨，但当时我觉得很合适。后来我不知道该怎么做，当时我接到了东方时装公司的电话，它就是在那里建造的。然后，我只专注于为DSM制作真正好的产品，直到我有了自己的商店。

BB: What do you think guided you through that rise? SR: I’m very decisive. I’ve always been like that. I have no patience, which is something I’m not proud of, but work-wise is quite good. And the more I do, the more energy I get from it. It’s a really exciting job to have.

BB：你认为是什么引导你度过了这次上涨？我非常果断。我一直都是这样的。我没有耐心，这是我不为之骄傲的事情，但工作上的智慧是相当好的。我做的越多，我从中得到的能量就越多。这是一份非常令人兴奋的工作。

BB: Who would you most like to collaborate with? SR: Astier de Villatte, because I love their plates. It’s amazing I get to work with amazing photographers, filmmakers and friends on a long-term basis. I like working with my husband, too [cinematographer Eoin McLoughlin]. We made a film with photographer Jackie Nickerson two years ago in Zambia, called Patchwork, Work. §

你最想和谁合作？斯泰尔·德·维拉特，因为我喜欢他们的盘子。令人惊讶的是，我能与出色的摄影师、电影制作人和朋友们长期合作。我也喜欢和我丈夫一起工作(摄影师EoinMcLoughlin)。两年前，我们和摄影师杰基·尼克森在赞比亚拍了一部名为“拼凑，工作”的电影。§

A version of this article originally featured in the November 2018 issue of Wallpaper* (W*236)

这篇文章的一个版本最初出现在2018年11月的“壁纸”*(W*236)中。

左，工艺锦纶夹克衫，绣花，GB 2，705；工艺锦纶连衣裙，绣花，GB 2，610；衬衫，GB 340；尼龙拉基手套，按需价格，全部由4 Moncler Simone Rocha。对，技术斜纹夹克，GB 2，515；迷你裙，GB 2，415；皮靴，GB 1，245。‘伯托亚钻石’椅子，GB 900，由哈里伯托亚，为诺尔。摄影：影像组。时尚：卡米尔·科尔布(Camille Kolb)最初出现在2018年9月(W*234)的左边，有绣花的技术尼龙夹克(GB 2，705)；带绣花的技术尼龙连衣裙(GB 2，610)；衬衫(GB 340)；拉基手套(按需价格)，全部由Moncler Simone Rocha 4人设计。对，技术斜纹夹克，GB 2，515；迷你裙，GB 2，415；皮靴，GB 1，245。‘伯托亚钻石’椅子，GB 900，由哈里伯托亚，为诺尔。摄影：影像组。时尚：Camille Kolb最初在2018年9月亮相(W*234)

左边，有绣花袖口的衬衫，GB 825。右边，尼龙夹克，国标1250左，衬衫带绣花袖口，GB 825。右边，尼龙夹克，GB 1，250