Artist Lucille Lewin presents new works at Second Lives exhibition that reflects re-invention – a fitting theme for Lewin, whose journey from pioneering fashion figure to acclaimed ceramicist continues to shape her work
You’ve had two extraordinary careers – first shaping the British fashion landscape with Whistles and Liberty, and now making a name for yourself in ceramics. How do you look back on that transition from fashion to fine art?
I studied at art school briefly in South Africa before accompanying my husband, Richard, to America when he went to Harvard Business School. I never finished my degree, but that creative thread stayed with me throughout my life. Designing clothes and making art feel very similar – folding and cutting cloth or yarn follows the same process as making sculptures. It’s all about form and creating something out of nothing.
How do you think your years in fashion have informed your artistic process today?
My years in the fashion industry were very important. To succeed, you have to be aware of everything – how people dress, the shifts in architecture and interiors, even the food world. I’m still expressing and exploring the world around me, only now I’m doing it through art instead of fashion.
What was it about clay that drew you in?
Clay is one of the materials I use, as I also use glass and metal in my work now, and it is a follow on from material, cloth and whatever goes into making accessories and apparel. But there is a special smell in a ceramic studio which is so compelling. I remember the first time I walked into a studio; the damp earthy smell of clay just hit me, and I fell in love immediately.
Your work explores the tension between humanity and nature, and the dangers of unchecked technological progress. What first inspired these themes?
My first project at the Royal College of Art involved selecting an early porcelain object made during the Enlightenment at St Cloud workshops and studying it in depth. I became fascinated by that period in France and the Industrial Revolution more broadly as it struck me that we’re at a similar turning point today due to AI and our impact on the environment.
Can you talk us through your creative process? How does a piece begin and evolve?
A concept comes to me first, whether it’s a narrative or an idea, and I start thinking, sketching and writing about it. I imagine the kind of work that could bring that thought to life. I’ll then think of a name for the concept. The names are just as important as the works themselves.
I often begin by pre-making certain forms, then build upon them by either adding or using preformed pieces until the structure comes clear. At a certain point, I go freeform and the work starts making itself.
In your view, what are the biggest barriers still facing female artists today?
Childcare is still largely the responsibility of women, and many sacrifice their careers for this worthy cause. I was very fortunate to have affordable, reliable childcare – and a mother who lives nearby – which made all the difference. If I were Prime Minister, excellent childcare would be top of my to-do list. Half the adult population isn’t able to work to their full potential.
What’s the best piece of advice you’ve ever received in your career?
Be brave.
What’s next for Lucille Lewin?
Who knows! But I hope there is more.
Second Lives runs 19th–24th November at 14 Percy Street, W1T 1DR; secondlivesart.com
