Every little thing Ronan Mckenzie touches turns to gold. As a photographer, stylist, art curator, and now designer, she is a number one example of how creatives can exist beyond the box they’re instructed to position themselves in. Throughout her creative endeavours, Mckenzie has time and time again proved the wonder in authentic connections inside communities.

In 2020, she launched Home by Ronan Mckenzie, a Black-owned multi-functional creative space which provides each exhibitions and community spaces for artists. Then got here her beautifully intimate clothing line Selasi, which translates from the Ghanian language Ewe as “God hears me”. Birthed during lockdown and officially launched last 12 months, Selasi strips away the superficial and as a substitute offers a real tackle design that centres human emotion and intimacy.

On the tail end of the SS23 fashion season last month, Mckenzie debuted her second collection during her very first runway show. With the assistance of those in her closest circle – including Alva Claire and Dazed’s former editor-in-chief Isabella Burley – Mckenzie presented a fragile line-up of second-skin dresses, sensual loungewear, and louche tailoring, all in a palette of washed out lilacs, browns, and nudes, shot through with striking flashes of passionate scarlet. 

Entitled I Close My Eyes and Taste Desire, “the title is the reality,” explains Mckenzie. “[It’s about] the will to be held, and to carry. I’m aiming to make use of my personal experiences to open up a conversation that I feel is commonly shied away from,: she adds. “The gathering is a wearable presentation of my very own desires, and I hope the wearer feels empowered to be confident about their very own, even when that conversation is difficult.”

Hi Ronan! What was your fundamental source of inspiration for the gathering this time around?

Ronan Mckenzie: The gathering is inspired by the non-public exploration of knowing and communicating the nuanced experience of sharing emotional and physical intimacy with oneself and others.  

Should I be afraid to vocalise what I need… Should I do know, can I do know, can I ask, once I know, and I need to know more about how I need it to feel, who I need to fill. I need to be held, I need to carry and be held, I need to excite and be excited. I need my red to leap out of my chest and meet your blue. And I need my blue too. I need to fill the disparity between what I actually have, and what slips delicately around my mind. 

Could you talk us through the means of designing the gathering?

Ronan Mckenzie: The gathering is a mix of progressions of shapes from the primary collection, and latest styles developed through drawings and draping. As I make garments based on intuition and play, nearly all of the shapes are cut either directly from my mind, or from a drawing by myself or my assistant Courtney. I already had a robust sense of fabrications and knit fabrics that I desired to develop, and built out through the addition of the color story and latest textures. 

The animal prints were inspired by a visit to Nairobi and the peace and headspace I felt from observing the harmony of nature. The giraffe print is borrowed from a painting by my dear friend Joy Yamusangie, and I used to be excited to work with more leathers inside this collection on account of the softness to the touch, yet the firm structure they possess. I also continued to explore ruching and draping techniques which have grow to be a part of Selasi’s identity.  

“Selasi is my fun – it’s where I can uncompromisingly express whatever I need to. I can walk into an attractive church in Hackney scented with Responsibility of Intimacy – a gently sensual yet empowered fragrance by Ezra-Lloyd Jackson that makes my mouth water and my lungs lift – to the sound of “Every little thing Together”, a rating by Melo-Zed, which takes us on a journey through the complexities of what it means to long for, and be longed for” – Ronan Mckenzie

You created the primary Selasi collection during lockdown, what has been probably the most noticeable difference in your design process and approach?

Ronan Mckenzie: The largest difference for me is that I actually have learned and proceed to learn more about garment construction which allows me to expand my capabilities and what I’m capable of make. My process and approach proceed to be hugely intuitive and informed by how I feel inside my body. 

Community has at all times remained an integral a part of your work, how essential was it so that you can channel that on this collection and show?

Ronan Mckenzie: Through the show I desired to create a shared experience for the forged and the viewers; a slow, performative piece which allowed each myself and the viewers to take their time in entering into the world of the gathering to have a foundation for a conversation. The forged was made up of close friends, family, models I actually have worked with previously inside my profession in photography, to artists and musicians who I’m inspired by, and personalities who personify and embody parts of my intentions and feelings around certain pieces. 

The forged, although so incredibly varied, are all a part of my world, individuals who have helped shape my perspective, and it was so special and essential to open up the conversation around intimacy in an area where I felt held, and just like the forged carried their very own stories, in addition to parts of mine as they moved inside the space. 

How did you give you the title I Close My Eyes and Taste Desire?

Ronan Mckenzie: The title is the reality; I desire to be held, and to carry. My imagination is alive, and I can taste the probabilities that slip through my mind. 

Do you might have a favorite piece from the gathering, and in that case, which one?

Ronan Mckenzie: Every look is my favourite look. I believe that is what’s so special in regards to the collection – I genuinely cannot select a favorite and even top three because all of them mean a lot in other ways. My beautiful and dear friend Alva Claire who closed the show said that she would wear the entire collection on different days and in several moods, and I believe there may be a time and place for every bit. All of those moments and versions of myself are equally essential to me. 

What have you ever enjoyed probably the most about working on Selasi?

Ronan Mckenzie: Selasi is my fun – it’s where I can uncompromisingly express whatever I need to. I can walk into an attractive church in Hackney scented with Responsibility of Intimacy – which is a gently sensual yet empowered fragrance by Ezra-Lloyd Jackson that makes my mouth water and my lungs lift – to the sound of “Every little thing Together”, a rating by Melo-Zed, which takes us on a journey through the complexities of what it means to long for, and be longed for. I can stride into the center of the space to exhibit what it might feel to me to be held with my angel, artist, curator and dear friend Ibby, on a sculptural seat which I made with good friend and collaborator Jobe Burns, designed to carry me while I hold someone. It’s rare to search out a creative practice where one can explore and expand so broadly, and Selasi creates space for me to do this.  

What are your hopes for the longer term of Selasi?

Ronan Mckenzie: I hope that Selasi stays my place to play so long as I want it, and it creates room for others to feel how I do too.