Ella Pearce Heath
Stylist. Journalist. Thinker.
Compelling. Petite. Passionate. Ella Pearce Heath has been inflicting her British sense of style upon rock’n’rollers, classical beauties and influential designers all around London. Having styled the likes of Noush Skaugen, winner of the Rising Star category at the Download Music Awards and Escala the electric string-quartet for the final of Britains Got Talent on ITV, Ella’s thirst for styling hasn’t gone unnoticed. Having got into the industry through working with ‘bands and musicians and making wacky clothes to shoot with a photographer friend’ her clients have evolved to include publications such as the Financial Times ‘How To Spend IT’, J-FW Magazine, Vanity Fair and the Daily Mail.
Training at the Royal Academy of Music for three years seems like an unlikely origin; from a musical marvel to a conversant stylist. It was recognising something in the industry that is often easy to overlook that ensured Ella stuck to her belief in fashion as an ‘art form that can reflect our society in a way that many other parts of the arts cannot.’ Clothes became an interest ‘Because not only are they objects of beauty worthy of admiration and a route of identity forming transformation, but they are also part of a multi-million pound industry across the globe that cannot be ignored’. Holding an awareness surrounding the importance of fashion within our society has not only influenced Ella’s style and aesthetic, but the people she works with too.
The look that Ella creates, both for her clients and herself, is ‘British Eccentricity’. Drawing inspiration from everyday life to create looks that are fresh and exclusive, ‘I’m inspired by everything around me – nature, architecture, art, literature, cultures, politics, history, tradition and probably most importantly, people with a unique voice that aren’t afraid to stand out and go against the mainstream’.
Certainly not one to suppress any sense of creativity, Ella delves into the deeper depths of fashion through her writing (www.ellapearceheath.com). But which does she prefer, styling or writing? ‘I think they need to go together, how can I write effectively if I don’t work hands on in the industry. Similarly, how can I style without understanding the wider cultural implications, and having my own theory on beauty. I couldn’t pick between them.’ Unlike many ‘Fashion Journalists’ today, Ella doesn’t just write for the sake of writing. Nor has she succumbed to the ease of writing about ‘must-have items’ and celebrity trends. She writes about the role of Fashion in Society ‘because you can’t fully understand anything until you place it in its context’. Constantly scouring the city for fresh designers untainted by the artistic restraint of sponsorship, it was Ella who recognised Fannie Schiavoni as an emerging new talent before she was acknowledged by the likes of Browns and Tank Magazine. But why choose to use young, unrecognised designers? ‘Because they often are still in the position to place the aesthetic, a unique voice/message and forward thinking at the forefront of their collection as they haven’t yet been compromised by the buyers need for ‘2 of this in 3 different colour-ways attitude’. Not to be misunderstood, Ella is of course aware of the importance of influential high-end brands such as Alexander McQueen, Lanvin and Iris Van Herpen, and her inspiration and admiration is still drawn by ‘Prada for innovation and single-mindedness, Stella McCartney for feminine simplicity and Antonio Berardi for amazing dresses’.
The next step for Ella is preparing the Look-Book for Komodo, an ‘ethical, hempy and hand-made’ brand. Individuality and artistic exploration are both equally as important as sustainability, influencing Ella’s belief that the future of fashion ‘must move away from celebrity; collections by non-designers just trying to make money or boost their fame etc are just a gimmick. True fashion is an art form, and this needs to be recognised’. How can the effects of the recession be seen in Fashion? ‘I think it has bred a new wave of designers who realise we aren’t infallible as a society or a people, and therefore has resulted in a rise of ecological and sustainable fashion designers who see a responsibility to our world’. It seems that Ella’s plans for the future are simple and to be honest, slightly understated , ‘I hope to make people think and to make beautiful images! Can that be a plan, even if it’s an ever so naive one?’ She’s headstrong, determined and knows exactly what she wants, and how she wants it done. Her ideal clients include Alexander McQueen, Gareth Pugh and Vivienne Westwood – who would be ‘pretty fantastic to work with, with all her rebellious attitude and strong opinions’. Perhaps there’s a little bit of Vivienne in all of us…?
Interview by Hattie MacAndrews, November 2009
Training at the Royal Academy of Music for three years seems like an unlikely origin; from a musical marvel to a conversant stylist. It was recognising something in the industry that is often easy to overlook that ensured Ella stuck to her belief in fashion as an ‘art form that can reflect our society in a way that many other parts of the arts cannot.’ Clothes became an interest ‘Because not only are they objects of beauty worthy of admiration and a route of identity forming transformation, but they are also part of a multi-million pound industry across the globe that cannot be ignored’. Holding an awareness surrounding the importance of fashion within our society has not only influenced Ella’s style and aesthetic, but the people she works with too.
The look that Ella creates, both for her clients and herself, is ‘British Eccentricity’. Drawing inspiration from everyday life to create looks that are fresh and exclusive, ‘I’m inspired by everything around me – nature, architecture, art, literature, cultures, politics, history, tradition and probably most importantly, people with a unique voice that aren’t afraid to stand out and go against the mainstream’.
Certainly not one to suppress any sense of creativity, Ella delves into the deeper depths of fashion through her writing (www.ellapearceheath.com). But which does she prefer, styling or writing? ‘I think they need to go together, how can I write effectively if I don’t work hands on in the industry. Similarly, how can I style without understanding the wider cultural implications, and having my own theory on beauty. I couldn’t pick between them.’ Unlike many ‘Fashion Journalists’ today, Ella doesn’t just write for the sake of writing. Nor has she succumbed to the ease of writing about ‘must-have items’ and celebrity trends. She writes about the role of Fashion in Society ‘because you can’t fully understand anything until you place it in its context’. Constantly scouring the city for fresh designers untainted by the artistic restraint of sponsorship, it was Ella who recognised Fannie Schiavoni as an emerging new talent before she was acknowledged by the likes of Browns and Tank Magazine. But why choose to use young, unrecognised designers? ‘Because they often are still in the position to place the aesthetic, a unique voice/message and forward thinking at the forefront of their collection as they haven’t yet been compromised by the buyers need for ‘2 of this in 3 different colour-ways attitude’. Not to be misunderstood, Ella is of course aware of the importance of influential high-end brands such as Alexander McQueen, Lanvin and Iris Van Herpen, and her inspiration and admiration is still drawn by ‘Prada for innovation and single-mindedness, Stella McCartney for feminine simplicity and Antonio Berardi for amazing dresses’.
The next step for Ella is preparing the Look-Book for Komodo, an ‘ethical, hempy and hand-made’ brand. Individuality and artistic exploration are both equally as important as sustainability, influencing Ella’s belief that the future of fashion ‘must move away from celebrity; collections by non-designers just trying to make money or boost their fame etc are just a gimmick. True fashion is an art form, and this needs to be recognised’. How can the effects of the recession be seen in Fashion? ‘I think it has bred a new wave of designers who realise we aren’t infallible as a society or a people, and therefore has resulted in a rise of ecological and sustainable fashion designers who see a responsibility to our world’. It seems that Ella’s plans for the future are simple and to be honest, slightly understated , ‘I hope to make people think and to make beautiful images! Can that be a plan, even if it’s an ever so naive one?’ She’s headstrong, determined and knows exactly what she wants, and how she wants it done. Her ideal clients include Alexander McQueen, Gareth Pugh and Vivienne Westwood – who would be ‘pretty fantastic to work with, with all her rebellious attitude and strong opinions’. Perhaps there’s a little bit of Vivienne in all of us…?
Interview by Hattie MacAndrews, November 2009
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