The realms of fashion and art, a symbiotic pair, often collide to create spectacular synergies.
This relationship dates back to the avant-garde movements of the early 20th century and continues to this day, mutually feeding off stimuli which trigger inspiring creations. From Schiaparelli and Dalí’s iconic lobster dress in 1937 to Keith Haring’s collaborations with Vivienne Westwood, it is one of fashion world’s most enduring love affairs. In the case of Ginny Litscher, however, it is the artist herself who transforms her art into fashion, seamlessly blending the two worlds within her own creations.
Ginny’s artistic journey began in 2009 after her graduation from Central St Martins, leading her to work with some of fashion’s most iconic designers —Vivienne Westwood, Alexander McQueen, and Diane von Furstenberg, to name a few. However, it was in 2011 that Ginny made her mark with the launch of her own printed scarf collection, showcasing her mastery of drawing and textile design. Beloved by the likes of Lady Gaga and Kiera Knightley, her creations are not just fashion statements, but well and truly wearable art. Her artistic process begins in her studio, in which she spends months, sometimes years, creating her largescale, intricate artworks. Once completed, these pieces are transformed into digital prints that adorn various surfaces, including her signature silk scarves.
At her SS25 London Fashion Week Champagne brunch, Ginny’s work was celebrated in the Mediterranean restaurant Bacchanalia, located on the corner of Berkeley Square and owned by billionaire restaurateur Richard Caring. Upon entering, we were greeted by Damien Hirst’s monumental statues of winged lions and unicorns as well as antique Greek and Roman artefacts. I felt that the choice of venue offered a glimpse into Ginny’s character, a
feeling confirmed when she later described both herself and her collection as ‘extravagant.’
Bacchanalia truly seemed the perfect fit. The opulent Apollo’s Muse room set the perfect stage for an intimate morning of drinks, canapés, and a closer look at her latest collection of accessories and swimwear, all adorned with her hand-painted prints of exotic flowers and animals.
A closer look at the designs reveals a jungle motif that pays homage to the animal kingdom, with tigers, zebras, crocodiles and an array of exotic birds filling the scarves to the brim with vibrant colours. Her scarves were carefully draped on statues scattered across the room, revealing the timeless nature of her designs.
Against this mesmerising backdrop, I had the chance to speak to Ginny about her latest collection and the inspiration behind it.
P: What inspired your latest collection? What stories/themes are you exploring?
G: I began by drawing a large-scale painting of tigers, all gathered around a pond. It’s interesting because they’re not normally a community-based animal, but I like to draw them in a way that they’re all connected with each other, at this pond drinking from the same water. I guess I like the idea of bringing people together even in times where it’s difficult to do so.
P: What is it about tigers that draws you specifically to them?
G: It’s such a strong animal and I love feeling empowered, both in my art and in the clothes I wear. I wanted to transmit this feeling of empowerment and fearlessness to the people wearing my pieces. I think in the turbulent times we are in now, it’s important to seek empowerment, and any empowerment we find we should share amongst each other. I find it essential to surround myself with people who are also creating things that they feel passionate about, and I find beauty in talking about this creation – the tigers in my artwork represent this feeling entirely.
P: If you could use three words to describe your collection, what would they be?
G: Powerful, Extravagant, Community.
P: How does extravagance come into play in your everyday life?
G: I’m someone who loves going all out—whether that’s on a night out or catching up with friends I haven’t seen in a while. Whatever I do, I like to enjoy myself fully and have fun, and I think the collection showcases this playful side of me quite well.
P: Many studies highlight the gender disparity in the fashion industry – even fashion
houses historically led by women now have male creative directors. Does it make you
feel ‘empowered’ to be a woman in this space?
G: I grew up in a small town and everyone around me was extremely narrow-minded, so I was craving freedom and craving to meet people who thought like me. For me this sense of freedom is so important, and I do everything I can to make women around me feel that everything is possible and that we don’t have to restrict ourselves and follow the strict rules society imposes on us. It’s very empowering to be a woman in this industry – I love being a woman, and I feel lucky to have made it while creating pieces I love.
P: I find your process very interesting because you create your artworks first and
then transform these into wearable pieces. In your opinion, how are art and fashion
linked?
G: I think there is still a big gap between the two industries, and I don’t like that. I find it really sad that people tell you that you can either work in one or the other, they tend to be snobbish about people doing both. I don’t want to feel restricted, and I do feel very restricted working in these industries sometimes, particularly in the art world. I find that a lot of people don’t like the fact that I create art and then transfer it into scarves, they don’t take my work seriously. At the end of the day, I am a free person and I will always create the work I want to create. I have seen some collaborations between artists and fashion houses, but it seems like they only happen if the artists are already famous and well-established. I will just keep following my process, and I hope that eventually this gap will narrow.
P: How do you balance your creative process with commercial viability?
G: I feel like my personality is split 50/50 into an introverted side and an extroverted one.
When I paint and am in the depths of my creative process, I won’t speak to anyone, I will just create. When I’m not doing that, one of my biggest interests is connecting with people and finding out what they feel like is missing in life. For me that’s what commercial viability is about, finding out what people enjoy and want to purchase. And I love the idea of people buying something I make and then it becoming a part of their life.
I am very fascinated by the process of purchasing clothes. Why am I buying this item? What does it mean to me? Some of my clothes mean a lot to me, and when I wear them it brings back so many amazing memories. I love the moment when something I create becomes a part of somebody’s life like that. In fact, I find that actually I don’t think about the commercial side too much because I create what I love and there is a market for that. We are all consumers and I often wear my own pieces and find that I gravitate to some more than others, which then intuitively makes me think the way my buyers might think.
P: Lastly, what has been your proudest career moment? Is there anything you’re
excited about coming up in the future?
G: I am excited about everything I do, but the Lalique collaboration has been a highlight. I just love the brand, and I am so thrilled about the fact that my collection will be in their stores worldwide. I don’t have a big team, so this opportunity has been incredible for me.
It seems clear that Ginny continues to blur the lines between art and fashion. Her new collection, rich in colour and symbolism, serves as a friendly reminder that fashion can be both a form of self-expression and a means of empowerment. As her work starts to reach new global platforms, she begins to redefine the essence of wearable art, leaving a lasting mark on both industries.