Tim Rhys-Evans is a name to watch out for. An MA graduate from LCF in Fashion Design and Womenswear Technology, he has received awards and recognition from fashion influentials, including the Harold Tillman scholarship and the BFC Creative Cutting Award for his BA collection in 2008. Whilst designing his own collection, he has also held positions at Gareth Pugh and as a pattern cutter for Jaeger.

Tim’s A/W11-12 collection exudes a dark excessive luxury with an avant-garde, Gothic association. His contemporary take on traditional sophistication and indulgence is furthered by the use of French lace, silk, Italian leather and faux fur (from the same supplier as Chanel no less).

Needless to say, this has garnered interest from top Fashion Directors, stylists and buyers. Volt Café took the opportunity to catch up with the designer to talk about his label.

Volt Café: Tell us a bit about the TRE brand… Would you say you have a signature aesthetic? And if so, how do you define it?

Tim Rhys-Evans: TRE is a luxury womenswear label with a strong brand identity.

My signature is high end evening wear with a romantic Goth appeal which prides itself in offering interesting yet wearable shape and fabric. A mix of statement and wearable pieces, delivering a very strong and feminine silhouette and shape.

VC: Which labels would you sit your label alongside?

TR-E: Christopher Kane, Viktor & Rolf, Alexander McQueen

VC: Who is the TRE woman?

TR-E: The brand is intended for women who are passionate about city life and are very career minded. She desires individuality in her style of dress; she loves one off pieces and likes to stand out. She is critical of the mass produced clothing industry, particularly its environmental and social detrimental effects. She buys garments that are meant to last, to be seen as an investment.

The TRE woman is strong, powerful, feminine and does not suffer fools gladly!

VC: Tell us about your A/W11 collection…what were the inspirations behind it?

TR-E: My A/W11 has an air of surrealism and fantasy and plays on ideas of escapism heavily influenced by the times in which we live – of recession and uncertainty.

Seeping through as a theme are Gothic overtones and Elizabethan dress – reflecting a new take on female power dressing. I used the ruff as a starting point to create striking contemporary silhouettes – centring the focus on the upper body and eliminating the neck and shoulders from view. It’s a collection for the modern day Elizabethan women – the slick fairy tale Queen who wants to take control – not someone who waits to be rescued like the foolish Princess.

VC: Quite a few of your A/W11 designs have an avant-garde feel to them. Do you describe yourself an avant-garde designer?

TR-E: I design for my work to have personality, to look sophisticated, mysterious, intimidating, intriguing and striking. I like to be experimental and try to push boundaries.

VC: Have you started on S/S12? And what are the themes behind it?

TR-E: Think HIGH CLASS hookers, In a VERY sophisticated way!

VC: What’s next for you?

TRE: Right now? S/S12

Words by Felicity Carter

Illustrations by Luis Perez Jauregui


alexander mcqueen, Chanel, Christopher Kane, Gareth Pugh, jaeger, Tim Rhys-Evans, Viktor & Rolf,