Describing her style as “creatively intriguing” and sometimes “compositionally overwhelming,” she crafts one-of-a-kind womenswear from deadstock and upcycled materials, bringing discarded textiles to life with techniques like dyeing, screen printing, and embroidery. Rooted in her passion for textile art, Silverking’s pieces reflect a commitment to material experimentation, aiming to create garments that embrace sustainability as a core brand value.

Where are you right now and what did you get up to today?

I’m at my house in Montreal, re-writing a draft for an artist residency application that I’m submitting.

When did you know you wanted to be a fashion designer?

I found a journal from when I was about eight years old that said “Dream Job: fashion designer” so I guess subconsciously always? But in reality I started experimenting, self-teaching, and making clothes during the pandemic. Ever since then I haven’t stopped, so since 2020? But honestly, I don’t know how much I describe myself as a fashion designer, but more-so an artist that makes clothes.How would you describe the style/nature of your designs to people unfamiliar with your work?

Creatively intriguing, sometimes compositionally overwhelming. For the past year I have been consistently presenting collections of womenswear, all garments made from discarded material or alternative fibres rescued from their pathway to disposal. Reuse and material experimentation is central to what I do, so you will see a lot of patchwork, textures and colours. My base is in textile art, so using dye, screen print, embroidery and weaving are all present. 

How does living in Montreal impact your designs/design process? 

I don’t know if it really does. Montreal is fantastic and has a lot of amazing makers and creatives, but when I make things I go into hermit mode and find isolation the most important aspect of creativity. I’m proud to say that context doesn’t drive ideas for me, a lot of what I make comes directly from inside.

Who are some current fashion icons or houses that inspire you? 

From a creative standpoint, I would say Maison Margiela (Martin Margiela specifically). In a lot of his work from the 80s/90s, he used alternative materials (paper scraps from the streets of Paris for shirts, porcelain plate shards wired together to create a bodice) he was ahead of the game when it came to experimentality in materials. He also presented collections in a very unconventional way, one of my favourites being his Spring/Summer 1989. Rather than being in the ‘fashion centre’ of Paris, it took place in an outskirt neighbourhood. The seating was haphazard and he allowed local kids from the neighbourhood to run around the catwalk and engage with the models. I think this kind of approach (demystifying ‘high fashion’ and really looking at it as just a humanistic presentation of art and design) is my favourite thing. He also prioritized de-centreing the designer as the “genius” and saw brands and developing collections as a team effort. I think now, especially with Margiela and John Galliano’s 2024 artisanal collection, I’m still utterly inspired by the brand, just in a different way. Also GANNI, from a sustainable approach, are the leaders. They prioritize ethical production and experiment with material recycling and producing eco-based material alternatives. They are also very upfront about it, often releasing statistics about their ecological impact and evolution.

How do you source and select the materials you use in your designs, and what role do they play in shaping your creative vision?

Sourcing comes mostly from estate sales and donations. I really dislike using anything new, I find it both difficult and uninspired to use things that have had no history or give me a challenge. Most of the materials are old linens, vintage crochet, and cotton tablecloths altered with hand dyeing or hand painted with appliqué dye. The nature of what I produce is all materially responsive. I am ‘given’ a diverse selection of materials, colours, and textures and it’s my job to make it work together. I find ways to create at least a little sense of the chaos through dye work, repetition, or form. I also want to make sure that what I make is particular to me, consistency is key in creating a visual language in your brand identity and if my consistency is a little chaotic through asymmetry and deconstruction then I’m alright with that.You describe your work as “structured maximalism,” can you describe what this means to you and how it translates in your work?

In essence it means that what I make is quite maximalist: shapes, textures, irregularity in fabrics and colour. When it comes to designing I feel like I have to try to contain the maximalism, structure so it can be more palatable to the viewer/consumer. In essence, I want to find a way that the composition doesn’t overwhelm too much.

Why is embracing the idea of imperfection important to you, and what message do you hope it conveys to your audience?

I think fundamentally everything is imperfect. The idea of living and creating perfectly comes from a ’60s modernist agenda; ‘clean lines’ and ‘less is more’ sentiments that didn’t evolve into practical living. Especially now when it comes to production and design, perfection invariably creates waste, if you use virgin materials such as white blank cotton fresh from production, that ‘perfect’ thing comes at the cost of water, energy, and labour. So I hope more people embrace imperfect ideals, embrace scuffs, holes, and mends that can add the stories of clothes. Utility and long lasting emotional attachment to clothes and design is my favourite thing.

Given your emphasis on materials, how do you navigate the balance between functionality and silhouette in your pieces?

I don’t really; I just try my best. I like making things beautiful and then I figure out how it works. I feel like at this moment in my life I’m giving myself a design and sewing education that I would have gone through if I had attended fashion school. Everything I do is an experiment, I should probably start leaning into practicality more,m but god doesn’t that make art-making so unfun.

If you could envision a future for fashion that fully aligns with your values, what innovations/shifts do you hope to see in the industry?

NO MORE FAST FASHION, TAX SHEIN/ZARA/H&M! These are cheap clothes coming at the cost of our environment and the people making the clothes. I still don’t understand how these things are so cheap and why our governments have done nothing to rectify the issues. Also no more virgin polyester, if we are going to make clothes from plastic why can’t it be recycled plastic? Everything for me is environmental… Fashion is a devastating industry that shows no sign of slowing down, so we have to find alternatives to the madness.

What’s next for hannahsilverking? Anything else you would like us to know about you? 

Hoping to leave Montreal soon. I love the city and it’s been a wonderful starting point that has given me innumerable opportunities, but I’m really hoping to expand and see where I land in a new context.

hannahsilverking joins forces with DVTR for an electrifying runway showcase on Saturday, Nov. 23 at Bar Le Ritz in Montreal, QC | TICKETS