Weeks before the debut of his SS21 lookbook on the digital NYFW showspace , Theophilio designer Edvin Thompson sits down to talk the next chapter of his brand’s journey.

Photo: Elijah Dom

What was the collection about?

Edvin: This collection, titled “Migration” is an ode to my cultural background as an immigrant. I really wanted to dive in and assist a conversation about the immigrant community especially in this political climate. I feel immigrants in this country are not really seen as Americans. We do still have a place here. We still bring our culture and then some. America was built on immigrants so it’s a conversation I really wanted to propel and have as a staple specifically for the Black community because we are always the last of everything. I think we share the same struggles as many cultural diasporas but we’re always the bottom. I think with this collection just having that visual stamp, just the ideology behind Theophilio. Being a Jamaican designer and coming from Jamaica as an immigrant to obtain that American dream really pushed the validity of this collection. It definitely came from a real place.

“Coming of Age” was me finding myself and finding my space within the fashion industry. I would say me placing myself. I can definitely say my first collection in 2016, my second, and my third collection where I played with filming weren’t executed properly. I was a bit insecure in my work and in conveying a message. I wanted to be very true in that and I didn’t want to be callous. Now, I really want a lot more intent and with Migration I feel like I was able to do that because of growth and me developing a lot more resources than I had a year ago. Coming of Age was me holding my space and myself but with Migration it was me going back to my community and bringing back my family and friends.

How has it been designing in this climate?

It’s been amazing actually. It really helped me remove myself completely from my job at Red Lobster. It made me understand what I’m passionate about. It gave me time to self reflect and be ambitious enough to say I am going to leave my job after a decade and focus on Theophilio. It’s just Theophilio now, and to voice that is the most amazing feeling.

How has the growth been for you?

It’s been extremely overwhelming. During the process of creating my show I’ve broken down at least seven times. The last couple times I grabbed myself and thought “This is what I want. I’m here, I’m here!”. I remember cleaning up fabrics after I trimmed a dress in my room or after I did a pull and I would cry because I’m so overwhelmed but I know this is what I want. It concludes my insecurity in regard to standing on my own two feet like there’s a door that’s been closed. I’ve shed a skin and I’m sitting in my own self. I really worked on myself and my craft and I feel like a king. I have arrived!

What was difficult about the collection?

Timing is always the most difficult part of putting a collection together. One of the rules in fashion is time does not exist. I’m very indecisive. I will go to the fashion district to source yellow mesh and end up finding blue leather fabric that I’m so crazy about. So I’m just working through that.

What message are you aiming to deliver with your brand at this point?

Inclusivity and diversity- Theophilio stands on that. My brand is an open book which is why I try to be as colorful as I am. It’s to allow people from the outside to see what’s going on within the world. I feel people get really content with going to work and not really being concerned with the world’s problems. Even during the lockdown when me and my friends were home watching all these protests on the television we were compelled to go out there and march. We understood that although we engage in activism through our art, at some point it’s important to show solidarity and show face in a tangible form rather than just speaking it.

Tell me more about the fashion film.

Initially I planned on videotaping my collection because of COVID. That inspired me to create a short film. I wrapped an earlier film that I was preparing to release prior to this collection but I do believe in divine timing. COVID inspired me wanting to film but Teen Vogue arrived at such a perfect time in regard to the collection and everything fell in line. They had a presentation that they wanted us five designers to do September 30th so I decided to do a film and release my lookbook during NYFW to stretch these things out. I actually wanted to do a few projects all in one which is why I have like seven photographers on set. We have a hair story, accessory story. We had drones, camera A, camera B, camera C, backstage, front of house. We were filming an intro to the dancehall scene in the neighborhood of Brooklyn the night before. Just really creating these nuances to later put out. It’s me getting a cluster of inspiration in my head that I’ve been wanting to get out for a really long time and grasping the more mature aspect of the brand.

What is your casting process?

It’s more of a feeling. I connect with my models as just energy. When they come over we vibe, chill, and I just hear what they feel and what’s on their mind. I listen to them besides my collection. I feel within my work I always push that this is a collaboration and they’re not muted canvases. I want their voice in this as well. It goes back to one of the brand’s ideologies of amplifying the voices of people who have been muted, creating spaces for people who haven’t been in the space to do what they want to do and change themselves. One of the models named Sara has been standing out to me because of how I had an impact on her even considering modeling full time. It’s amazing to see her now and think “oh wow, I was part of the driving force for that.” Doing something like that for someone is amazing and I want to continue doing that. It’s a little scary having people who look up to you and I want to rise to that occasion. I believe I do and I can say now I’m not afraid to be the voice for them in these spaces.

How would you describe how your circle has evolved with you as you’ve progressed?

You can see it. Migration happened and you see the team. Even from Coming of Age I think it was such a big hit because of production. I remember earlier today when I went into Spring Studios they were asking, “What does the fashion industry need to move forward?”. I believe in sustaining community. I believe that community is very powerful. With any community leader such as a mayor or perhaps a school principal or even a store owner you are being of service and I think you naturally become a leader. Coming out with this collection, the people around me definitely assist in my growth and I can say I assist in theirs as well. It still amazes me that the models I had in the collection basically said I speak life into them in the way I clothe them. I really bring light out of them and that’s a formidable feeling. I can’t fathom that because it’s changing a person’s life almost. It’s an amazing feeling and definitely scary at the same time to have that much impact. I think by understanding yourself and your place and hearing the people in your community, they can assist in both your growth and their own.

How has it felt delegating responsibility to others?

It was a different feeling because with this collection I fully gave my trust to other people. There are stories I’m hearing about now that I wasn’t privy to when I was on set during production. It’s dope because I didn’t hear about it but they handled it. This is the first collection where the headache happened towards the end and that was only because I hit the blunt bad *laughs*

In our last interview you were preparing for your first meeting with the CFDA. This partnership has led to your first show as part of the official NYFW calendar and support from both the CFDA and the recently founded Black In Fashion Council. What has the experience been like for you?

It’s a filling experience. I’m not the only one out here working and creating these spaces for my community. When I go out to these other spaces I make their voice even louder.

Being part of Black In Fashion Council I’ve seen Black people who work in so many different departments within fashion and not just the folks that are on the frontline like the photographers, the editors, and the models but Black men and women who work with lights and do set design. It’s amazing to see these different departments of fashion push this initiative of creating spaces to sustain Black talent.

How much do you factor the market into your designing process?

Recently there’s been deeper conversation about commerce. In that experience, I don’t want to get lost in making clothes to sell. That’s never gonna be the brand's ideology. Being invited into these spaces where it’s about selling and still standing my ground and saying that’s not what I want to do. These are archive pieces but having pieces that are accessible and sell is important to carry within any collection. I think fashion is missing that at the moment. Collections coming out of New York during fashion week now are basically trunk shows. It goes back to New York being one of the global epicenter of fashion but seeing the mediocrity high end brands put out is crazy to me. The reason I moved to New York is because of the diversity and fashion coming out of here. I miss that excitement! I’m so excited that it’s taking people like Christopher John Rogers, No Sesso, Telfar, Pyer Moss to bring this excitement back. I’m very excited to be among this company. I’m in my own lane while I see everyone around me doing the same thing. I’m not alone in this and I think it’s really dope.

What is your next goal?

My next goal is to connect with a lot of non profit organizations. Protesting has really inspired me to be out there, Not just being on the internet and the social media stratosphere or donating money but actually showing solidarity, showing face, and showing support. It shouldn’t just be me going into the community and trying to understand people. It should be all artists and designers. You should understand your consumers on a very personal level.