Blue Nude is the creation of visionary designer Katarina Protsack, who made the leap from the tranquil landscapes of rural Canada to the vibrant and creative energy of London. This transformative path began with an intuitive pull towards the UK, sparked by the surreal electronic music of Lone’s “Galaxy Garden.” What started as a semester abroad in Leeds evolved into a permanent relocation to London, where the city’s dynamic energy and creative spirit have continuously inspired Blue Nude’s unique approach to fashion.
The designer’s background, marked by a self-taught education in fashion design, sets Blue Nude apart in an industry often dominated by traditional academic pathways. This unconventional route has cultivated a design philosophy rooted in instinct and innovation, allowing for a creative freedom that is both daring and meticulously crafted. The founder’s Canadian upbringing, with its deep connection to nature and environmental stewardship, seamlessly blends with the vibrant cultural tapestry of London, creating a brand that is as mindful as it is imaginative.
Vida Privada: An Ode to Mexican Architecture and Landscape
Blue Nude’s latest collection, Vida Privada, is a captivating exploration of the architectural genius of Luis Barragán and the enchanting landscapes of Mexico. This collection emerged from the founder’s profound experiences in Mexico City and Oaxaca, where the art scene and Barragán’s unique approach to design left an indelible mark. The founder’s journey to Mexico, initially to collaborate with artist James Watkins, became a source of inspiration for the collection. The architecture of Barragán, with its emphasis on privacy and use of vivid interior colors, resonated deeply, influencing the collection’s aesthetic and thematic elements.
Collaborating with James Watkins, a pivotal figure in the development of Vida Privada, brought an additional layer of creativity to the collection. Their partnership, which began serendipitously through social media, flourished into a dynamic synergy that combines Watkins’ artistic vision with the founder’s design expertise. This collaborative process, involving on-location research and the creation of moodboards that translate auditory inspiration into visual artistry, resulted in a collection that is both cohesive and richly textured.
Flanelle had the opportunity to delve into the inspirations and processes behind Blue Nude, uncovering the brand’s journey from inception to its current standing in the fashion industry. Through this interview, the founder shared insights into the challenges of establishing a new brand, the balance between creativity and commerciality, and the vision for the future of Blue Nude.
Image Credits. Collection Imagery: Photographer – April Woodward-Smith @photography.aws // Prop Stylist – Elektra Thomson @elektra_thomson // Model – Sofia @sofiacrudge // Portrait Credit: Teo Della Torre @teodellatorre // Hackney Downs Studios @hackneydownsstudios // Artist: James Watkins @james_watkins
Flanelle: Why did you move from Canada to London and how did it influence the founding of Blue Nude?
Katarina: It sounds a bit ludicrous, but I moved to the UK because of an album called Galaxy Garden from an English surrealist electronic music artist called Lone. It spoke to my intuition and created an overwhelming sense that there was something creatively and culturally happening in the UK that I needed to experience. Six months later I moved to Leeds, Yorkshire, for a university exchange and what resulted was a life-changing semester abroad.
After finishing school in Canada, I moved to London. I have since been endlessly inspired, thrilled, and engaged with the culture of creativity in this city. I think being an outsider, coming from rural Canada, I can appreciate and absorb the energy of the environment with innocent curiosity. On the flip side, my Canadian upbringing has guided my sense of duty to the environment and my spiritual appreciation of the natural world. It is this balance of curious creativity and sensitivity to the environment that has created the base of principles I carry with me in my work with Blue Nude.
How has your self-taught background in fashion design influenced your approach to creating collections, compared to traditional fashion education?
To answer this question, I have to generalize. I cannot truly compare as I’m not sure what it would be like to design from an academically founded background. There’s certainly been trial and error. Having a self-taught foundation to refer to, I have learned to trust my instincts, and possibly it has helped in the sense that I doubt myself less because I am not contradicting any advice that was ‘taught’ to me. I’ve been able to approach design in a way that suits my creativity and go about it in a way that seems logical. That’s the wonderful thing about design and creativity in general – there are many ways to reach a beautiful end result.
Your latest collection, Vida Privada, is inspired by the architecture of Luis Barragán and the Mexican landscape. How did you first become interested in these influences, and how did they shape the collection?
I first went to Mexico City in 2022 to visit James Watkins, an artist I have since worked with on two collections. We were working across continents on our Chame (AW22) collection, without ever meeting in person. I had been hearing great things about the art scene in Mexico City, and I thought it would be a good opportunity to learn more about James as a person and artist while experiencing what Mexico City has to offer. It was a beautiful, inspiring trip that changed my perceptions of Mexico. Afterwards, James suggested working together on a collection inspired by Mexico. I liked the idea of engaging with the country and expressing its intriguing spirit, away from the stereotypes of resorts, spring break, etc.
It was recommended by a family member to go tour Luis Barragan’s home and studio, Casa Estudio Luis Barragán. I previously had no perception of what Mexican architecture could be and went into it blindly with an open mind. I was blown away by Barragan’s approach to designing a living environment – he created a home that was the opposite of what I would’ve considered being my ‘ideal’. He shied away from exterior-facing windows, and used bright colours inside. I have loved organic architecture for some time, and it was interesting to see him engage with this style but in a way that the home did not open to the outdoors, it created a sense of beauty, peace, and internal privacy. In 2023, on my second trip, I was lucky to tour two more of his homes – Pedegral, and Casa Gilardi, which were equally inspiring.
Ultimately his architecture made me realize how sacred privacy is, it’s becoming increasingly rare in our very public, digital lives. I put Barragan on an ‘art god’ pedestal alongside Frank Lloyd Wright. I want to see all of his buildings one day!
The collaboration with artist James Watkins is a significant part of this collection. Can you describe how this partnership came about and the creative process behind integrating his artwork into your designs?
James originally reached out to me a few years ago after finding Blue Nude on Instagram. After the success of our first collection and my inspiring trip to Mexico City, we decided to work together again. We make a good team and hold a lot of respect for each other’s craft which makes for an ideal partnership. James also isn’t afraid to tell me when he doesn’t like something, which I appreciate. For Vida Privada, our second collection, it was the first time I travelled to the location of inspiration, researched, created the moodboard, and began the artwork while on location, versus a retrospective interpretation.
I travelled around Mexico City and Oaxaca, photographing and observing the landscape, architecture, people, colours, and spirit of the area. I then, as I do with every collection, started with an auditory moodboard which I translated, primarily using my photography and Pantone colour swatches, into a visual moodboard for James and I to reference. We then spent a few days in James’ studio in Escandon painting, and got the artwork off to a great start for him to complete after I left. We mounted three huge canvases on the walls of his studio. It was incredible to watch him transform these massive squares of white into colourful and expressive paintings. A few months later he completed the paintings, then photographed (he is also an excellent photographer) small sections of which I selected a few to be paired with specific garments and undergo digital test printing. It is a tricky task to discern whether I like a section of the art as a painting, but also if it will work on a garment and interact well with the lines of the human body. Once the artwork is selected, I choose fabrics for the other pieces in the collection to make sure everything contributes towards a cohesive vision. Then I get to work on pattern placements and finalizing all the designs.
Blue Nude collaborates with emerging artists each season. What do you look for in an artist collaboration, and how do these partnerships enhance your collections?
I try to keep an open mind with who I’d want to work with, but definitely working with someone who is able to utilize colour in a sophisticated way is a good start. I also seem to be drawn to artists who are interested in metaphysical representations in art, or have a spiritual connection to nature, whether this is obvious from the get-go or not.
Whenever an artist collaboration piece is completed, I admire what we achieved together, and how we couldn’t have had the same result without each other. Everyone I work with has inspired and taught me so much, and I approach us working together as an exchange of ideas and inspirations. Creative collaborations are understandably not for everyone, but I say with humility that in the case of Blue Nude, two brains are better than one! We are the masters of our own domains, uniting.
Sustainability is a core ethos of Blue Nude. How do you ensure that your production methods and materials align with this principle?
My most recent collection is almost entirely made in London, with the exception of the silk scarf which is produced at a GOTS-certified heritage silk printer in the English countryside. Though, in previous collections I have always been mindful of ethical consumption and my other production partnerships have been with artisan social cooperatives in Italy and India.
I decided to commit fully to making in London as I enjoy being close to my suppliers and being able to absorb and witness them engage in their craft. As well, I like the shorter lead times and being able to collect my order via public transport vs. air shipments is much better for the environment.
As for materials, I find this the most fascinating aspect of sustainability. Materials innovation is very exciting! I primarily work with natural and organic fabrics, with the exception of a few polyester-based pieces which are 100% recycled (some with recovered ocean plastic) or locally-sourced designer deadstock. I would love to engage more with bio-waste and bio-fabricated materials, but I need to scale a bit more to achieve this as they have quite high minimums.
The industry’s reliance on oil-based (ie polyester) materials is destructive and damaging. We most certainly need to diversify our fabrics, while also supporting organic producers who respect the soil they grow their crops in.
Your use of artisanal techniques and master craftsmen is quite distinctive. How do you find and select these artisans, and how do their skills contribute to the uniqueness of Blue Nude pieces?
Most recently, for Vida Privada, the Cochineal Cut-Out Dress features a panel of woven fabric that is grown, spun, dyed, and woven by artisan weavers in the Sierra Sur de Oaxaca in the tradition of Zapotec textile art. When I was in Oaxaca I visited the Museo Textil de Oaxaca and learned about the rich history of weaving in the region. I thought it was fitting to incorporate an element of their textile art into the collection. After some research I discovered Khadi Oaxaca, which has beautiful fabrics that are ethically made, ecologically conscious, and beautifully reflect the traditional craft of the area.
I find that the fashion industry places an overemphasis on Western art and design, but there are many areas around the world with rich artistic histories that are under-represented. I enjoy interpreting their craft and technique in a contemporary way.
How did your research trips to Mexico City and Oaxaca influence your understanding of Mexican culture and its impact on your collection?
Prior to my research trips, admittedly my exposure to and perception of Mexico was very media-influenced and limited to a few teenage trips to Mexico’s resort areas, such as Cancun and Puerto Vallarta. Hardly an authentic Mexican experience! Without James’ invitation and my two research trips, I would’ve never arrived at the interpretation and understanding of the Mexican environment and spirit that I have now. After my first trip, I left enthralled by the country’s craft, artistic spirit, and intriguing engagement with death, privacy, and sensuality.
There’s a balance that I find intriguing – on the surface you may find politeness and reservation. Though, artistically and socially, there’s a darker cultural undercurrent present too. Two elements of life distinctly separate cultures from each other – their approaches to death and sex. Mexico gave me the impression of having an open and dynamic play with death, expressed in their craft, tradition and film, while on the contrary their approach to sensuality is quite private. It’s almost the opposite of the culture I grew up in. It made me fantasize and imagine what was going on in Mexican society behind closed doors, in people’s private lives.
I saw these currents reflected in Barragan’s architecture. His emphasis on privacy seemed to be a potential reaction to his sexuality and desire to have the sensual elements of his life hidden from the outside, more conservative external world. After my visit I began to equate privacy with freedom.
The colours in Vida Privada, such as dark cochineal red, volcanic stone grey, and agave green, are deeply evocative of the Mexican landscape. Can you tell us more about the significance of these colours and how they are reflected in your fabric choices?
If you follow fashion, you’ve probably noticed the rise of minimalism. After the explosion of ‘dopamine dressing’, I went to Mexico looking for a ‘new neutral’ to incorporate into and add a stable current to the balance the more vibrant colours of the collection. I found myself drawn to volcanic stone, used in the Diego Rivera Anahuacalli Museum, and the dark earthen clays used in Oaxacan pottery. The balance of greys and browns in the colour makes for a very versatile neutral that is a nice alternative to white or black.
One of my most vivid experiences with colour while on my trip was from a cochineal bug, traditionally used for lipstick pigment, and seeing the intensity of its hues. It was the most perfect, exquisite shade of red. The artisan fabric I used in the Cochineal Cut-Out Dress is naturally dyed with cochineal, hence the name.
As for the agave green, what better colour to represent the cultivation and craft of Mezcal? Aesthetically, I find the colour to transmute tranquility.
As an emerging designer, what have been some of the biggest challenges you’ve faced in establishing Blue Nude, and how have you overcome them?
The first challenge to overcome, which I’m sure a lot of emerging designers can agree, is to trust yourself and your vision. I try to keep an open mind but also acknowledge the strength of my instinct to know what people want before they know they want it.
The second biggest challenge is to balance commerciality and creativity. There is a lot of fun in creating fantastical designs, but at the end of the day I want to make something that is wearable, versatile, and comfortable for the person who’s wearing the piece.
Lastly, and as a surprise to myself, having ‘Nude’ in my business title has provided some challenges. For example, I am unable to have a shop on a certain global social platform as my name violates their ‘business codes of conduct’. It’s been a strange and unexpected interaction with puritanism, and evocative of the unreasonable shame that is placed on our bodies and sensuality in general.
Looking ahead, what are your aspirations for Blue Nude? Are there any upcoming projects or collaborations you can share with us?
Overall, keep growing and getting more recognition for the talented people I work with! I’d also love to have my own boutique in the future. A place where I can showcase not only the creations of Blue Nude and its artistic collaborators, but other likeminded brands and creators.
I’m also keen to be able to bring more of my passion for music into the world of Blue Nude. Music is one of the key touchpoints of my design process, and I’d love to be able to integrate this more publicly into the brand. I think the more multidisciplinary Blue Nude becomes, the better.
Conclusion
Blue Nude’s journey is a compelling narrative of cultural exploration, artistic innovation, and ecological consciousness. The founder’s ability to fuse personal intuition with a profound respect for the natural world has birthed a brand that stands as a testament to the power of independent creativity. The Vida Privada collection, with its rich inspirations from Mexican architecture and landscape, encapsulates this ethos, offering a glimpse into a world where fashion transcends mere aesthetics to become a profound expression of cultural and environmental harmony. As Blue Nude continues to evolve, it promises to remain at the forefront of sustainable fashion, inviting discerning audiences to partake in its journey of discovery and inspiration.
