Berlin-based designer Lou de Bètoly takes her inspiration from chaos, surrealism, nostalgia, decadence, extravagance and oneirism. To Bètoly, these terms are more than simply vague words – on her website, you can find a glossary with meticulous descriptions outlining the importance of their meanings to her creative process.
Adorned with embellishments, her intricate crochet pieces embody her fluid approach to design, marrying sensuality and punk aesthetics with equal measure. Having studied Haute Couture at ESMOD and trained under Jean Paul Gaultier, Bètoly understood the codes of luxury fashion before she pulled at their threads, investigating the boundaries between applied art and opulent craftsmanship, uncovering the unique creations at the intersection.
The one-off garments blend traditional techniques like embroidery, knitting and weaving with contemporary aesthetics that result in sculptural works of art, drawing the attention of high fashion fans including Dua Lipa, Rosalia, and Beyoncé. On APOC Store, Bètoly’s offerings include her signature heavily adorned styles, crochet scrunchies, “see-through” chokers, and beaded thongs.
Below, the designer shares how fashion’s senseless styling rules, a box of old glasses and childhood advice have shaped her creative practice.
How would you describe your aesthetic in your own words?
Feminine, delicate, intricate, ironic, dual.
What are your earliest memories of fashion?
When I was five, I saw someone wearing navy blue and black together. I remember that I found it very weird, and thought that these two colours should not be associated together. At the moment, I love navy blue and black together.
What’s one piece you’ve made that you feel summarises your label, and why?
Any piece that mixes a lot of techniques like crochet, knit and embroidery together and blends everything into one garment.
Can you tell us the story behind your pieces made from eyeglasses? What first drew you to using them as a material?
I got a full box of old glasses, and the idea became to use every single element from it. The ideas came step by step. Every part has been decomposed and meticulously reworked into a new life cycle: All the lenses were perforated and connected together. The plastic frames were distorted and reshaped. Temples have been disconnected, warped and embroidered. The tiny nose pads were mixed up and beaded into a net. All metal frames have been reshaped and plated with 25-carat gold to re-enter the supply chain of fine jewellery.
I love the way you display your finished clothing on Instagram – where each piece almost transforms into a sculpture or art piece you’d see in an exhibition. Is this part of your creative process?
Thank you! I’m happy to hear this is how you perceive it. I enjoy seeing the item become almost a sculpture at the end, and I do like the idea of playing on the edge of fashion, applied arts and art. Nevertheless, when I create garments, it is pretty technical and fully functional which is also what I find interesting in fashion. In the end, it comes alive in the body.
Can you tell us a bit about the inspiration or story behind the piece you designed for Beyonce?
I created an item embroidered with old cell phones, electronic parts and cables. The inspiration was the futuristic aesthetic from the ’60s, which I interpreted with my vision in a contemporary context.
I remember as a child I did an artistic workshop during the holidays. I was 8 or 9 years old, and the teacher told me “forget to make it look pretty”. At the time I thought this was such a weird comment, but I have to say I think about it often.
What barriers or challenges, if any, have you experienced in accessing the industry?
I think it is important to be able to afford patience in this industry. Also, trying new ways of working instead of following the old system is definitely more challenging
What changes would you like to see, if any, in the fashion industry right now, and how is your brand contributing to this?
I think we need ‘less’ in general – less cheap, mass-produced goods. I hope my brand can show a poetic way of doing sustainable fashion, and also that it’s nice to be slow, and not to make concessions on handcraft.
What’s the best and worst advice you’ve ever been given about fashion or design?
The worst one I don’t remember – it’s probably good not to get stuck on negative things. But I remember as a child I did an artistic workshop during the holidays. I was 8 or 9 years old, and the teacher told me “Forget to make it look pretty”. At the time I thought this was such a weird comment, but I have to say I think about it often.
What song/album/artist/podcast are you blasting on repeat while you’re working in your studio/space?
I play my Discover Weekly playlist on Spotify as it gives a variety mix that I usually like, or I put on the French radio FIP. I don’t press repeat on a song at the moment.
What’s your weirdest or wildest fashion obsession right now?
Buying antique beaded bags.
What fictional character would LOVE your label?
Barbarella, for example.
And who IRL would you love to see wearing your designs?
Lily-Rose Depp!
What are your plans for the future?
I’m working on a new collection right now, and hope the future will bring exciting new projects.
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