In fashion, as in life, people’s stories are always unconventional, unique and deeply rooted in personal experience. Beth Williams, whose journey of artistry and adversity weaves resilience and passion into every stitch, is no different. From a youth marked by illness and the transformative power of creativity, Williams shares how fashion became both their sanctuary and vessel of self-expression.
Guided by mentors and eclectic influences, they find inspiration in the intersection of non- human life, philosophy and fashion. They confront industry challenges with unwavering resolve, advocating for sustainability and inclusivity in a world ensnared by excess.
Their work provides a beautifully personal and singular breath of fresh air that is sorely needed in the often-stagnant commercial world we inhabit.
Glimpsing into their creative space, we anticipate the dawn of new horizons, where each brushstroke and stitch herald a brighter, more inclusive future for fashion and art alike.
To start could you tell us a bit about yourself, your background and how you found your way into the fashion world?
I’ve always loved art, whether it be creating it or just enjoying other peoples. It was my escape growing up. I never knew it could be more than just a hobby until I was in my late teens. I became really unwell around that time and the only time I felt good was when I was creating. It gave me a way to find comfort, express myself and communicate with others when I couldn’t verbally. I was bullied a lot in high school because of my health problems, my queerness and my appearance. But I am notoriously stubborn and refused to change what I wore or how I presented, so fashion because an important part of my identity. I think once I realised that I choose to pursue fashion and didn’t look back for a long time.
Who/what would you cite as the main inspirations that pushed you to pursue fashion/art?
I had decided I wanted to go into art and fashion by the time I started college I couldn’t have pursued it further without my A Level Art and Textiles teacher Susie. I had big dreams but didn’t exactly have the confidence to go with it. She always knew how to encourage me and inspire me. Pushing me to try new things and to keep going even when my personal life was overwhelming. She bent over backwards to make sure I could get where I wanted to go. I could not be the artist I am today without having the privilege of being taught by her.
Is there any particular subject matter that is currently inspiring your work?
Right now, I’m really inspired by Carl Sagan’s writing and Junji Ito’s work. A weird combination but one I adore. I love how Sagan reminds us of just how big the world and universe is, and just how much non-human life there is out there. One of my favourite quotes by him is: “Every aspect of Nature reveals a deep mystery and touches our sense of wonder and awe.” It always inspires me to find the awe in nature in my own work. Awe in nature is defined by respect towards nature and fear of it. I think that’s why I love Junji Ito’s work so much; I love to include references to horror in my practice as it adds that edge of fear.
The fashion world is notoriously hard to break into, what would you say the most significant challenges you’ve had to overcome to reach the stage you’re at now/What do you find most challenging about working in the fashion world?
I’m disabled, and definitely didn’t come from a financially privileged background, it’s complicated things for me. I couldn’t really afford to work for free, and I missed out on a lot of opportunity for things like internships due to illness. Especially when COVID hit during my placement year as I was shielding. I also can’t really keep up with the capitalistic pace of working for a big name right now either. I really wish there was less focus on financial value in the fashion world. Environmental and human sustainability should be valued more instead. Despite the difficulties I’ve faced, I’m still glad I’ve had to tackle them. It’s pushed me to redefine what I consider fashion and allowed me to find alternative ways to work. It’s how I fell into working with living textiles. Financial security is still something I struggle with, but I’m determined to stick to the ways that work for me and not sacrifice my values - but who knows, that could change.
On the other side of things, what would you say is the most exciting thing you have been able to do/accomplish in your career so far?
Ahh this is a hard question! I’ve had so many amazing opportunities in the past year and collaborated with so many amazingly talented people. If I had to choose, I would say The Feast performance with ABINTRA8 for their White Sabbath event. I was able to present my work alongside many creatives that I truly admire. It also allowed me to show my more fashion related work in a way that felt much more authentic to my practice. It’s an experience I’ll treasure forever.
Your work is so singular and unique, I wondered if you could touch on what you feel sets your work apart from other brands?
Thank you so much! My brand truly is the visual representation of my own journey, it encapsulates all my trauma, struggles and progress. Each piece documents a success or failure. I try to not let what my peers are doing define my goals for my brand. I’m constantly trying to find alternative ways to pursue fashion or art. It’s difficult to keep to that all the time but I’m stubborn.
I really loved your recent show “The Feast”, could you touch on the story behind this collection of work?
There were three main elements I wanted to communicate with the looks I put together for the Feast. The ancestor, the protector and the twins. Each representing different part of my journey in making them.
The Ancestor was the decaying Uzumaki dress sitting at the end of the table. It represents the past, and all the knowledge I’ve gained through working with living textiles. Even when the physical is gone that will always remain.
The Protector was the chainmail dress, it was a reimagining of my BA Graduate Collection that centred on how I protect myself as a disabled person. This time I made the look from entirely compostable materials. Protecting yourself in this industry is important but my armour has softened a lot after meeting, collaborating and learning from so many people. It represents the now.
Then The Twins represents the future. A future where we reframe our relationship with the consumption of fashion and care for ourselves and the planet more. My future being supported by everything I’ve faced in the past and the present.
All of these elements come together and interact as one. As well as with the all work from the other artists who contributed. Showing we are stronger together when we are open to sharing our different experiences.
As a multidisciplinary artist, I was wondering how your process changes between the different disciplines? Do you feel different areas allow you to touch on different things more effectively? And is there one that you prefer?
My process doesn’t change much but different areas do allow me to touch on different things more effectively. I always love making garments, and I know I will always come back to fashion but currently, I prefer exploring different disciplines more. Fashion can be exclusive by nature, branching out allows me to find new ways to combat that exclusivity.
Who/what inspired you to create these amazing living garments we saw in “The Feast”?
Laura Macij reached out to me about working with ABINTRA8 and creating some pieces for the White Sabbath. It really was the perfect collaboration! We were all really excited about having some living pieces. They let me run wild with the brief and were so encouraging and inspiring.
What challenges does incorporating these living elements into your work pose? Because I imagine there are a fair few.
There are so many challenges! That’s what makes it so fun! It can be so tricky to find the right techniques and seeds to work with each specific textile. There’s a lot of failed samples composting in my compost bin. In the summer there’s the added complication of controlling moisture and the bugs and mould that come along with it. I try to find value in everything I try, and learn from everything, so I can carry all the knowledge through my practice. I like to refer to my practice as a compost bin, sometimes you have to work through all the crap for new life to grow.
Getting pieces out for shoots and events can be tricky too. Living garments aren’t the easiest thing to transport and there’s usually a limited time they’re usable. Fortunately, I’ve been so lucky to work with so many understanding creatives to help solve those problems. Even coming up with new ways to present my work which I never would have thought of without them.
Many people would suggest being able to create and showcase such amazing pieces as unbelievable success, what does success mean to you?
For me I feel truly successful when others feel a connection to the pieces I’m creating. As much as I love to work through my own thoughts through my pieces, I never want to stop learning about other people’s opinions and experiences. I want my practice to be as inclusive as possible, so every connection someone has with what I’m doing is important to me.
I know it’s probably hard to narrow it down to just one, but if there was one thing you would like to see change in the fashion industry what would it be?
I could definitely talk about all the issues with industry for hours and hours. If I had to choose just one, I’d say I want to see an industry that values the health of the planet and the happiness of the people on it above anything else. As creatives we have such special power to discuss the chaos that’s going on in the world, and to push for change. That gets limited greatly when financial value is put above anything else.
To finish the interview, is there anything exciting coming in the future you could let us know about? And what are your plans for the near future?
I’m really looking forward to developing my living textiles further this year! I have so many ideas I want to explore, and I can’t wait to share them with everyone. There should be lots of new things growing in the studio. I plan to keep building my world of living textiles bigger and bigger, and I’d love for people to come and visit it!
