Rory William Docherty's Fashion for a Lifetime
A study in self-expression from one of New Zealand's most influential fashion designers.
‘Slow fashion’ is a buzzword (or low hum) heard throughout fashion interviews today, but one of the sincerest voices of the movement I have spoken with lately is Rory William Docherty. The New Zealand-based designer creates artworks every season, which become the prints he carefully cuts into innovative designs – what remains is woven into future collections to create “one giant collection for a lifetime”.
Inspired by great artists as much as time spent in nature, there is a sensitive beauty and natural balance to his work, which has seen him quickly become a designer to watch both at home and internationally.
His forthcoming collection, ‘The Journey’, celebrates the label’s 10th collection, and a transformative design journey. This is one editorial excursion I couldn’t wait to go on.
‘The Journey’ is your 10th collection. What has your journey been like since starting out with your own label?
The first Rory William Docherty collection was a slow process. Initially I avoided designing garments, focusing on the creative process, but my drawings evolved into paper maquettes, enlarged into life size distorted shapes, and in spite of myself I began draping fluid and sculptural forms. I wanted to create something personal and new, but still beautiful – unapologetically. They were relatable but not of the moment, like a lingering dream.
This pure form of self-expression has evolved into a brand which now has much consideration to comfort and cost per wear as to the vision. This means the poetic is balanced with the practical. They are pieces that are at the core of a wardrobe, and can be worn time and time again, in a variety of ways, for different occasions, and lifestyles.
What have been the main challenges, and rewards along the way?
Time and costs. It began as I suppose a very expensive, extravagant, and time-consuming hobby. Since the beginning, we have navigated global pandemics, political unrest, wars, and financial instability everywhere. I’m sure any economist would say now is not the time to launch an independent clothing brand. But I’ve felt like in spite of external factors, now is the right time for me to do this. I have the experience now, the determination, the energy and drive. If I wait for the right time, that might be too late. So perhaps the biggest challenge is not letting the external factors deter me, and to trust myself and be brave and continue.
What have been the main highlights, and pinch-me moments?
I’ve had the privilege of dressing people for their most special moments. Being able to bring joy into someone’s life through my work, and seeing how transformative, uplifting and empowering it can be is so fulfilling. Every time we shoot a collection, I’m so excited, seeing the full vision come to life. Both shows were amazing and played a very special part in the trajectory of the brand. Part exhaustion, and full of gratitude, I cried the morning after my Australian Fashion Week debut to wake to my first Vogue Runway review.
What was your experience like before starting this brand – And do you have any other creative pursuits?
My first role was as the designer at Swanndri, at the age of 22. I was in charge of designing, developing and delivering workwear, activewear and casual wear to hardworking farmers to the changing lifestyle market for both men and women.
I spent my mid-twenties in London, initially in retail for Prada and Yohji Yamamoto, gaining a love of craftsmanship, conceptual design, and the importance of a strong visual brand identity. Then I moved behind the scenes developing tailoring for a large supplier to multinationals including Top Shop.
Locally at Workshop Denim, I worked across design and production for five years, an experience that strengthened my attention to detail, and melding of functionality and creativity.
I have contracted for various companies during my career, in design, fitting, pattern cutting, production, merchandising, illustration, print and textile design, across men's, women's and children's wear.
Other creative pursuits (so much of what I do feeds into my work, it’s hard to separate), include attending galleries, travel, curating pieces for my home. Anything visual and tactile might subconsciously influence my work. So when I do set aside down time, I like to make that completely separate, like camping with my partner. Though even then, the tent is well equipped with multiple rooms and even a coffee table of magazines and a chess board.
How would you describe your aesthetic, and your focus for this new collection?
Rory William Docherty stands for timeless craftsmanship, seasonless slow fashion, and original artwork. Each print is based on my own drawings and paintings, reimagined in signature silhouettes. Crafted to last in beautiful fabrics, with as much consideration to comfort and cost per wear as to the vision.
What are the most important pieces in this collection to you, and why?
The Multi Tie Painters shirt is a signature style, I created it for my second collection and it’s remained unchanged and a ‘perennial’ piece since. At the time it felt quite out of step with trends, too oversized, very poetic and billowing, now I have customers who buy one in a new colour every season, because of its versatility and everyday elegance. And any printed piece – drawing and painting is in my DNA, at the core of the brand.
To wear a piece created from my original sketches and paintings, is to wear an original piece of art. The prints are cut so as no two garments are the same.
The Book sleeves, or pages, are a new development. They came about through the simple act of turning pages in my workbooks and seeing the flutter of a paper page. I wanted to evoke the protruding ‘pages’ around the body.
Can you walk us through your idea of the art tartan – and how art in general inspires your work?
This came about by slicing previous collection artworks into strips, then hand weaving them to create a unique art ‘tartan’. I liked the idea that each of the previous collections could be spliced and woven together, and in turn create a sort of tartan too. This reinterpretation of former prints encourages customers to mix pieces from earlier collections with the new, valuing timeless seasonless fashion.
I begin every collection drawing, painting, not with garments in mind. It’s a sort of reset for me. A time to play, and trust in the creative process. I’m often influenced by artists, or an art movement. I keep coming back to Francis Bacon, Egon Schiele and Gustav Klimt, Ben Nicholson, Cy Twombly.
How does your upbringing in rural New Zealand also inspire you?
There’s a nod to the classic New Zealand bush shirt in the new collection, crafted in a soft wool cotton Japanese check, and beautifully finished throughout. I appreciate being able to enjoy quite weekends in the countryside, a Sunday drive out to the coast, or ferry over to Waiheke. The need for clothes that perform practically comes into play. I don’t change my wardrobe, I wear the same RWD shirt, or cashmere, chino or rework jean.
Japanese materials and techniques are also found in your collections. What is your connection here?
I really appreciate the quality and feel of Japanese fabrics. Perhaps my early retail days at Yohji left an impression and appreciation. There is a particular Japanese cotton shirting I work with every season, with a wonderful papery touch. No need to iron it – that lightly crumpled look and feel and sound when you wear it, it's hard to go past now.
How important are the materials to your design process?
Fabrics are vital. I work with ongoing materials so there is consistency from range to range. I want to reassure customers they can buy a piece from one collection, and a season later they can find a complimentary piece in the same fabric to pair it with. Then each season, I explore how a concept can translate through materiality, be that metallic foil, hand woven fabric, embellishing….
Can you please share what seasonless and slow fashion means to you?
I am driven by the desire to create essential, optimistic, and relevant solutions that stand the test of time. To provide the wearer with pieces that solve a need, empower, comfort, elevate, solutions for the weekend, work, and the evening, with a spirit of independence.
Garments recur and are ongoing. Colour palettes evolve, mindful of what has gone before, knowing we wear new clothes with what we already have. They are all designed to work together like building one giant collection for a lifetime.
Do you have a certain kind of person in mind when you are designing?
I try to give the creative process space to let the best unexpected ideas emerge. But there is always a consideration and respect for the people that will wear the clothes. Which, honestly, is very diverse. 18 year olds to 80 year olds. Women, men, non-binary and transgender, across various ethnic backgrounds. The commonality, what makes them modern and timeless, is that they all possess self-confidence. They have an appreciation of craftsmanship and quality, and a love of creativity. I believe my clothes allow them to express their individuality and creativity.
I love your use of hats – what attracts you to these accessories specifically?
I see it as punctuation. Hats and shoes book-end a look. A hat can be an exclamation mark! It can anchor, or quieten a look, I feel they reinforce the mood, be that playful, poetic, contemplative, direct….
You’ve been named FQ Designer of the Year and been named a Future Face by FashioNZ. Do you hold a sense of responsibility for the future of New Zealand fashion?
Gosh, I think it's an honour to be seen that way, but I don’t hold it as a responsibility. That would feel like a burden which would weigh me down and stifle my own creative expression, trying to encapsulate or evoke what I thought others might want of me. Instead, I’m grateful for those who appreciate what I’m doing, and I am encouraged to push onward, renewed in my own vision.
Where do you think NZ fashion is heading?
My hope for New Zealand and global fashion is that designers with a unique perspective represent themselves, their cultural background, sexual orientation or gender. That traditional and new innovative craft techniques will be fostered by their peers, the creative sector, retailers and customers. I hope designers will be encouraged to hone their unique offering and find an audience that appreciates it.
What’s next for Rory William Docherty?
I am currently designing costumes for an upcoming Royal New Zealand Ballet, ‘Chrysalis’, which will be out the middle of this year.
Lastly, I’d love it if you could share what is inspiring you.
Travel is always inspiring, exploring new cities, countries, cultures, climate, cuisine.
I love magazines. Printed material which you stop and slowly leaf through, or pause to read, and come back to. Cabana, Architectural Digest, World of Interiors, SSAW, A Magazine Curated by, Encens, Luncheon, Gentlewomen… the list goes on…..
Recent exhibitions: Amy Sherald: American Sublime at the San Francisco Museum of Modern Art, anything by Alexander Calder, Ragnar Kjartansson’s The Visitors (2012) (a video installation), and Olafur Eliasson’s One-way colour tunnel…
Shop For All Seasons x Rory William Docherty
The Journey is available to shop until mid-June. In the meantime, let’s muse over these fashion pieces that transcend the seasons. Spring: Multi Tie Painters shirt. Summer: Hand sewn silk 'painted' dress. Autumn: Crushed Long Sleeve turtle neck. Winter: Crushed Silk Column skirt.