Stepping into the creative developer and designer Oyindamola Lawal’s creative space and home to his brand, Maison Lawal, the hum of the atelier buzzed gently with activity – seamstresses at work, cutters at their tables, and mood boards adorned with sketches. This interview is an immersion into a mind with fashion intellect, and what follows is a conversation that not only dissects the ethos of Maison Lawal but also examines its pace and ambition.
Your brand, Maison Lawal, carries the tagline “Where heritage meets haute couture.” How does that manifest in your design philosophy?
Oyindamola: At Maison Lawal, every collection starts from history: it could either be ancestral stories or symbols. Our tagline manifests in every area of our productions. It’s in the cut of a sleeve that echoes agbada proportions but hugs like an Italian suit. It’s in our stitch decisions; in fabric sourcing that respects tradition but understands modern styling choices.
Your recent collection, The Legacy Line, was praised for its design control but critiqued for lacking innovation in textile treatment and surface detailing. What’s your response to that?
Oyindamola: That critique was valid and, honestly, welcomed. The Legacy Line was about exercising restraint – showing that cultural garments could be minimal, not performative. However, I agree there’s more we can do in pushing fabric technique. Innovation does not always mean loud embellishment, but perhaps we could have done more with pleating, tonal embroidery, or dyeing.
As a creative developer, how do you keep your design instincts fresh and future-forward?
Oyindamola: Research is my obsession. I study sculpture, architecture, and even indigenous weaponry – anything with form and cultural function. I also collaborate with illustrators and textile artists who challenge my thinking.
Critics have highlighted that your designs sometimes lack structural reinforcement. As a fashion enthusiast and an occasional customer of your brand, I do support that critique. What internal checks exist in your atelier to ensure design ideas are not only creative but also technically sound?
Oyindamola: First, thank you for adding pieces from Maison Lawal to your wardrobe. The critiques on reinforcement have been insightful and are much appreciated. In our atelier, we’ve since expanded the sample review phase to include a dedicated “stress-testing” protocol, where durability is assessed.
Let’s talk about structure. From POMs to stitch consistency, critics noted the precision of your garments. What informs this meticulous approach?
Oyindamola: Structure is cultural for me. Having my designs fit a wearer is a way of respecting the wearer or client, as the case may be. I work closely with my pattern makers, and I personally oversee final samples before production. We build garments like architecture: line, foundation, rhythm.
Sustainability is a core value. What do ethical sourcing and mindful production look like in your operations?
Oyindamola: We source from local artisans and textile cooperatives in Northern Nigeria, Mali, and Côte d’Ivoire. All dye processes are non-toxic, and many of our fabrics are handwoven or upcycled. We have also streamlined our production calendar to reduce waste, meaning we only produce what we can sell.
With all the accolades and momentum, what’s next for the Maison Lawal brand?
Oyindamola: Expansion – but on our terms. We’re working on a capsule collection that incorporates hand-painted textiles for travel. We’re also in talks with showrooms in West African countries for potential stockist placements.
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