Jewel Kaye is designing for himself first

PHOTOGRAPHY Charlie Barclay-Harris
SPECIAL THANKS TO Salomon

This interview features as part of BRICKS #15 I Support You issue’s Portrait series. You can view the full series here, and order an issue now from our online store.

Taken from the Dutch translation of Common Rue, a flower symbolising regret, repentance and sorrow, Jewel Kaye founded Wijnruit in 2021. A multidisciplinary creative, he works across painting, collage, styling, creative direction and garment making, with clothing forming part of a wider creative practice. 

Kaye first began designing garments in 2015 while living in New York, learning under a mentor who introduced him to construction in a non-traditional way. After returning to the UK, he moved to London and continued developing his work largely through experimentation. Though often described as menswear, Wijnruit is designed without gender in mind, with each one-off piece handmade in London and drawing on silhouettes and archetypes found across different subcultures. 

Has there been a moment where someone’s support tangibly changed your path? 

There have been a couple of instances where Martyn Ewoma, the founder of Sludge Magazine, has not only pushed me to take the reins on certain projects, styling or coordinating shoots for the magazine, but also encouraged me to do something with my designs, with a view to making a brand. The encouragement and support, coupled with the skills I picked up from working together, made the whole process seem much less daunting, so I’m often aware of that relationship being a catalyst for my personal development.  

What’s the least glamorous part of sustaining a career in fashion right now? 

The more I work in and around fashion as an industry, the more I’m learning that there are actually very few glamorous aspects. The fact that there’s very little money to be earned can definitely be disheartening. 

On the flip side, sometimes the lack of glitz can be quite galvanising. When you’re working on a shoot in the middle of November, outside, and it’s freezing, you’ve been up since 4am because there is limited daylight, and you’re wondering why you’re doing this, you laugh about it with the other members of the team. Even though you can feel deflated at times, there’s a comfort in knowing this is what you picked. And of course, when you get to see the finished product of your efforts, that’s a sweet moment every time. 

Sometimes the lack of glitz can be quite galvanising. When you’re working on a shoot in the middle of November, outside, and it’s freezing, you’ve been up since 4am because there is limited daylight, and you’re wondering why you’re doing this, you laugh about it with the other members of the team. Even though you can feel deflated at times, there’s a comfort in knowing this is what you picked.

Who are you designing for when you’re working? 

The only person I know how to get into the mindset of is myself, so when I design something, it’s always for me, or a version of me. I know exactly how I like clothes to feel and move. Whenever I try to make anything from someone else’s perspective, that’s when I end up making stuff I’m not happy with, and funnily enough, people don’t respond so well to it either. 

The only person I know how to get into the mindset of is myself, so when I design something, it’s always for me, or a version of me.

Jewel Kaye wears full look: Wijnruit shoes: Salomon X-T Whisper

What do you do alongside your creative work to keep it sustainable? 

I do all sorts. I’ve had a couple of stints working with carpenters, as a gallery attendant, and I’ve worked the till at my local dry cleaners. I’m very lucky that I’ve also been able to make some money in other fields of fashion, like styling. 

What does meaningful support actually look like in fashion right now? 

It’s a tightrope because exposure is important, but it’s not a substitute for financial compensation, and it can often be used as such by the organisations that can pay for your work. Encouragement, and a bit of directional advice from someone who’s been in the industry a while, can’t be overstated either. 

Exposure is important, but it’s not a substitute for financial compensation, and it can often be used as such by the organisations that can pay for your work. Encouragement, and a bit of directional advice from someone who’s been in the industry a while, can’t be overstated

How do you try to support others coming up behind you? 

I don’t think I’m far enough along in the game to offer meaningful support in terms of giving experiences or opportunities, but I’m very often passing along advice that I used to look for when I was imagining getting started to other people who want to find a career in fashion. 

What moment have you been most proud of in your career, and how did you celebrate it? 

I’ve had a lot of “firsts”, and I’m always proud [of those], but more recently, I’ve had my first fashion show, and that was always a big aspirational moment for me. I’m grateful I was able to share that with my friends over a few drinks. 

Your bio mentions the non-traditional techniques you experimented with under a mentor in New York. What did that look like in practical terms, and what did it mean to have that kind of guidance at that stage? 

I had zero idea how a garment went from idea to finished product, and I didn’t even know what to research to get started. My grandpa’s wife lives in America, and through her, I met Michael Calderone in 2015. He taught me things like technical drawings, pattern drafting, toiles, and the various steps of making a sample. 

I spent a little time over there helping with odd jobs in the studio. It couldn’t have been any less glamorous, and in exchange, he helped me make my first garments. I’ll always be super grateful to Michael because he really didn’t gain much from spending time helping me learn. He passed away just before I came to London; he’s another person I wouldn’t be working in the creative space if it weren’t for. 

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