Fyodor Golan. Fashion, Latvia and Harmonious Collision 

The story of Fyodor Podgorny’s formation as a couturier seems a bit outlandish. Could an ordinary Soviet boy, for whom Chupa Chups lollipops and Coca-Cola were exotic treats, have imagined being let into the world of fashion? But let’s talk about everything in order. Let’s not get ahead of ourselves—we’ll start from the beginning.

Fyodor was born in the Latvian port city of Ventspils in 1985. That year Madonna, who would later go on to wear the colourful outfits of the Fyodor Golan brand, had already embarked on her first tour. But little Fyodor has no idea of what’s to come just yet. He continued to grow in a small Baltic town, developing a love for neon colours and a passion for creativity. 

An unquenchable thirst to create led him to art school. This was followed by the College of Design and Art in Riga, but here he found himself too “cramped” and the atmosphere “not conceptual enough”. So Fyodor went to Belgium to study modelling at the Royal Academy of Fine Arts in Antwerp, where the education was more in line with his inner aspirations. 

The aesthetics of “harmonious collision”

What was initially just an intuitive movement of the two towards each other with the aim of creating their own brand, over time became the calling card of Fyodor Golan. The brand is about the collision of different creative ideas, the choice of non-trivial combinations of textures, fabrics and colours. Even the musical accompaniment at their shows, as a rule, corresponds to this principle. Rock, opera and pop music can be heard within one show. As a result, a powerful visual unity and harmony is born out of chaos. 

Unsurprisingly, both designers’ favourite subject was art history. In their work, Fyodor Golan constantly refers to history, a range of different cultures, and subtly put their fingers on modern metamorphoses within society, stitching together the past and the present in their apparel—in every sense. 

Avant-garde collections were born from the most unexpected sources of inspiration. Among them—the myth of the surviving daughter of Nicholas II Anastasia Romanova, traditional scarring in African tribes, entomology (the study of insects), the bedroom (yes, an ordinary bedroom), the works of Baudelaire, digital technology. All of these themes and more have appeared within the Fyodor Golan universe. 

High Start and Principles

The young brand’s second collection, based on Baudelaire’s poem “Flowers of Evil”, won the prestigious Fashion Fringe Award. From that moment on, the design duo took a strong position in the world of haute couture and met the expectations of the demanding public year after year. Just two years after the foundation of the brand, their first “retrospective” exhibition was held at the Victoria and Albert Museum in London. 

In addition to world-renowned catwalks, Fyodor Golan clothes have been seen on a range of stars. Lady Gaga, Jennifer Lopez, Rihanna, Madonna, Zendaya, Ariana Grande have all chosen the brand for concerts and outings. These celebrities’ choices were not accidental. Many stars crave something special, with a unique identity—something that qualitatively distinguishes this brand. 

The brand has more than celebrity endorsements to be proud of. The duo also has partnered with major brands: Coca-Cola, Sonic the Hedgehog, Chupa Chups, Powerpuff Girls, My Little Pony. 

They are trailblazers, and their innovative creative approach is best exemplified by their unique skirt designs. A parachute skirt that inflates when you walk was featured on the cover of the Times. The duo also created a first-of-its-kind interactive skirt made up of 80 Nokia Lumia smartphones. The photos on the phones’ screens change colour as the skirt moves, creating a shimmering effect, mimicking real fabric; it’s an impressive sight to behold.

They are also all about raising awareness. For example, the designers have drawn attention to ocean pollution through their collections, and, as of 2019, the brand has refused to use plastic in its work.

Dialogue with the master

This year, Fyodor Golan is hosting its first retrospective in Latvia. We met with Fyodor and asked him a few questions about the exhibition, his work in Latvia and the latest stage of his creative journey.

This is your first retrospective. Why now and why Latvia?

Technically we already had a retrospective at the Victoria and Albert Museum in London two years after the brand was founded. But actually, it was too early, so to call it a retrospective was not quite right.

Now we are really looking back at the period 2009-2022. The brand has ceased to exist as of 2022, and we don’t release new collections. Yet another reason for a retrospective.

Are you working independently now?

Now I am in a kind of transition period, Fyodor Golan is still a part of me, but now I am developing myself in a different direction and working individually as a designer. Some of my works are on display at the exhibition, others will be seen on video.

Does it seem like Latvia could now be a source of inspiration for you?

Yes. I get inspired by modern culture and everything seems to be growing and evolving here.

I like the local creative environment. I meet all sorts of artists in Latvia, for example, I have become friends with Krista Dzudzilo, and even made three outfits for her. One of the dresses was draped directly on her, another was made from a pattern, trying to convey a sense of her creative nature. I also made an outfit for an advert for Latvian organic cosmetics brand Etíde.

Another project I did on my own was in collaboration with the dancer Jana Jacuka. Last year she performed with Damian Rice during his European tour. We are thinking of organising a performance here at the end of July. 

How does it feel to be organising your own retrospective?

It’s interesting to look at my work from today’s point of view. It’s a conversation with myself: I feel much freer, I don’t set rules, I try to do new things. For example, there are outfits at the exhibition that have never been shown before, they are presented here for the first time.

At first, when I was curating the pieces and bringing them here, they reminded me of certain moments from my past, which were at times difficult, sometimes frightening. Now I look at everything from a more technical point of view. I also see how much I’ve grown, how much I’ve developed, how much stronger I am.

A retrospective is not about ego. I’m interested in creating a dialogue with the audience, it’s important to know how they feel, what appeals to them, what doesn’t and why. It’s a sort of anthropological endeavour.

What meaning is imbued in the title “Harmonious Collision”?

I work within the framework of the classical sculptural canon in contrast to my own works. They are attracted to each other like positive and negative. Hence the title.

There is also a distinct parallel here: classical sculptures were painted in vivid colours, and my clothes are brightly coloured too. We are used to seeing monochrome sculptures. On the one hand, this is a contrast, on the other hand, it’s food for thought: maybe these elements coincide much more than may seem to. 

I like that the sculptures here are nude, expressive, while the clothes are quite static. And the expressiveness is manifest through material, texture and detail.

Has your design aesthetic changed over the years?

There are codas and components that are important, that remain. Naturally, the themes change, just as specific elements of clothing change, as does a person’s life. Social networks have also influenced the development of fashion, the way we dress now is much more intiguing. We let new experiences pass through us, we grow. I’ve always found it interesting that trends, like people, have a vector of development, they don’t just stand still.

You have had very diverse and sometimes unexpected sources of inspiration for your collections. Could you perhaps tell us what’s caught your attention recently?

I now work more directly with people. I’m eager to discover something in a person, challenging them or inspiring them to try something new. I have no interest in simply making a costume. It has to manifest something within them, to create a spark, so that they put it on and feel pure bliss.

In fact, a person’s persona has now become a major source of inspiration. It’s interesting to find what’s common and divergent about us. I prefer the differences. 

That doesn’t stop me from creating collections in the future. I just don’t like doing the same thing over and over. I like to finish one chapter, move on to the next and do something completely different.

Do you have a favourite collection or outfit?

I do. Two of my favourite collections stand in the entrance hall. One is called “Crocodile” (2014), the other—”Holy Mountain” (2013).

The Holy Mountain collection was inspired by Alejandro Jodorowsky’s 1973 film of the same name, an interesting, albeit complex, psychedelic film.

“Crocodile” came about after a trip to Myanmar and Cambodia. I was impressed by an array of things there and wanted to make something totally wild out of unconventional materials. It was an interesting search for new elements, and the result was a success: dresses from the collection were worn by Rihanna, Brooke Candy and Jennifer Lopez, to name a few. 

What do you bring to the creative duo Fyodor Golan?

I think it was I who introduced the vivid colours. I’ve loved neon yellow ever since I was a child. I was attracted to anything out of the ordinary. Earthy, grey, brown colours were popular around, I wanted the complete opposite. That’s one thing.

The second is silhouette. For me it’s the construction, the shape, the interesting lines that matter most. 

Not to mention texture. Texture attracts people to clothes, they want to touch the fabric. These three elements interest me most of all. I try to bring strength, a sort of inner energy, so that when a person puts on the clothes, they feel that they can “kick some ass”.

There is an excessive amount of clothing being produced today and, as a result, has a negative impact on the environment. Do you support conscious consumerism?

People need to think about what they buy, why they buy it—and buy less of it. Not everyone can afford to buy expensive things. However, it is possible to buy less but better quality. 

Interestingly, I see more awareness in Latvia than, say, in London. They have Primark there, where people buy bags and bags of clothes. Only to eventually throw them all away.

Now a generation of young designers are taking into consideration the materials they work with, the use of recycled materials, and how to stop the exploitation of animals. Stella McCartney, for example, is developing mushroom leather, which is on track to play a huge role in the future of fashion. 

What do you like to wear in your daily life, and where do you buy your clothes?

I don’t like to follow trends, brands or hype. I buy maybe five or six things a year. I’ve had a proper wardrobe since 2000. I’m currently wearing a jacket I bought in 2007-2008 when I worked for Issey Miyake. The trousers I made myself. I usually combine things. It’s important for me to have practical clothing that don’t need to be washed often, as it spoils the colour and fabric.

It’s not that I like specific designers, but their ideas, how they innovate. Dries Van Noten is great—the way he plays with colour and texture! And I like the way Raf Simons mixes modern elements.

Your brand has achieved rapid success. What are your most coveted goals and desires now?

There are always goals and ideas floating around, and there are a lot of them. The main thing is finding the opportunity to realise them all. The retrospective was one such goal.

I would like to create a new brand, not another Fyodor Golan, but something more contemporary and affordable. Perhaps produced in Latvia. But to develop it not only in Latvia. I would like to organise a space… a shop, gallery or coffeeshop, something like the Voo Store in Berlin. 

Is it possible to buy your clothes in Latvia?

No, currently I only sew to order, hence why I’m thinking about a new brand and shop.   

Muzeju Kratūve is hosting the first retrospective of London-based fashion brand Fyodor Golan, Harmonious Clash. The exhibition is open to the public all summer long, from the 14th of June to the 1st of September. 

The brand presents roughly 120 looks and accessories to the public. Outfits from London Fashion Week, colourful pieces worn by the likes Madonna, Rihanna, Ariana Grande and Jennifer Lopez, as well as dresses created for famous Latvian cultural figures are all on display in the Museum’s Vault space.

Following the brand’s usual aesthetic, the retrospective brings together unexpected elements: classical sculpture and contemporary fashion. The unique atmosphere in the museum invites you to be not only an observer, but an active agent. 

Walking through the forest of sculptures in one of the halls, getting lost among the artefacts, the viewer suddenly finds himself part of the exhibition, discovering external and internal consonance or dissonance. Harmony can surprisingly be born out of both.

It’s impossible to grasp the abundance of shapes, details and colours all at once. A new perspective makes the elements of the exhibition interact with each other in a new way and the experience borders on the surreal.

In addition to the outfits, you can learn about the history of Fyodor Golan’s shows at the exhibition, sitting comfortably on the pink “lawn” in the video room.

Learn more about the exhibition