New Angles: Söder Studio
We’re multifaceted people. New Angles is the strand of New Journo which aims to explore all aspects of us as human beings. The way we conduct ourselves; our home life, work, friendships, and personal interests all impact each other. We’re complex and all of us should be celebrated without being put into one box.
We’re thrilled to chat with Addison Soeder of Söder Studio for the first interview in the series. In celebration of their Collection 02 release on 18 May, we delve into the brand, moving across the pond from Canada to the UK, houseboat living, and how her childhood informed her career.
Introduction
Briefly tell us about you. How have you got to where you are? I grew up in my dad’s childhood home in a town outside of Toronto; a stone's throw from Lake Ontario. Until I lived in London, I didn’t realise how crucial being close to the water is for me.
I was surrounded by people building and creating. My mom (a graphic designer) would sew my formal clothes and almost all of my dance costumes. My grandfather (a carpenter) built his own house; this is where I learned to sew from my grandmother. My dad built his own business and I watched the hard work it took. It instilled a good work ethic in me and that it’s possible to achieve any goal.
My spare time was filled with art, sewing, cross-country running, dance, and football (soccer) because I really disliked school and struggled to learn in this setting. I was always showing up to football practice with stage makeup on or to dance class with grass stains.
Early on, I knew I wanted to pursue a career in fashion. After school, I moved to Toronto to study Fashion Design at Ryerson University. I always thought I would end up in New York but after getting an internship at Alexander McQueen, I was determined to stay in London and learn from the best abroad. After a few months home in Toronto, I returned to London, and within months, I was promoted from intern to product developer. I have since worked in the industry for 13 years, the majority as a pattern cutter and I feel so grateful to work with amazing brands.
Söder Studio started at the end of 2021. The name is the original spelling of my surname, how my paternal grandfather spelled it before immigrating to Canada. As small business owners do, I wear many hats but designing and pattern cutting is where I feel most comfortable and creative.
Six years ago, my partner (photographer, James Retief) and I bought our houseboat moored in South-East London. We're (slowly) renovating it and making it our own. It’s where Söder was born, where the first ever smocks were sewn, and where our first brand photoshoots were, thanks to the immense help of James. Being on the water has been such a wonderful place to call home - I can’t imagine living anywhere else in London.
Credit: Söder Studio (2,3)
Work
What made you want to pursue a career in pattern cutting? Originally a product developer, I realised quickly it wasn’t for me. I'm happiest and fulfilled when I’m physically creating and not sitting at a computer. Getting my first few pattern-cutting jobs was hard; there was a lot of rejection and a lack of junior roles at the time. I even had some of my superiors doubt my ability. However, I knew I had a strong foundation from university because they emphasised the technical skills of cutting, draping, and construction. That, and a stubborn determination to learn and adapt when the traditional ways didn’t work. After a tough start, I'm so proud of the stunning garments I've created for some amazing people.
What are some takeaways from your career that you’ve incorporated into Söder? Be true to yourself, be kind to others, be willing to continue learning (I still am) and persevere.
What made you take the leap and build your own clothing brand? It was always something I had considered but never thought I had the talent to do it. After many years in the industry, I found myself saying ‘there must be a better way.’ The industry was, and still is, fast-paced with brands constantly chasing to keep up. This leaves little resource to embed real change in any overarching problems. When the pandemic hit, I was positive that change would come. Some companies did, but I quickly realised that a lot were unwilling to do so. That’s when I thought, I've got to give it a go.
I saw a need for well-designed, elevated wardrobe staples that had a refined minimal aesthetic. A brand that was transparent and uncompromising in producing consciously made clothing. I started with just two items, that were a new take on a traditional, yet overlooked workwear item; smocks. Reworking this garment to be modern but true to its purpose and functionality was the aim, with an added importance on making them entirely from GOTS-certified, organic cotton from the fabric to the thread. Despite being in the industry for over a decade, I still didn't realise how many obstacles I would hit with these constraints.
What forged your passion for workwear and timeless design? It started from my love of vintage when I began thrift shopping at school. I would study old pockets, fastening, and the construction of garments. Many times, buying an item just because I thought the shape or detailing was interesting. When you look closely at vintage, you can see alterations, where a garment has been taken in or let out, or where a hole has been patched. A well-made item should last a lifetime, and be able to tell those stories. This is something we've lost through the speed of changing trends.
Do you follow a process or just use your judgment, to decide when something feels right? I think you have to be willing to let a collection evolve beyond what you first envisioned. For me, it always starts with a silhouette. When I have a design in mind, I'll sketch it out or how I’d pattern cut it. Often, I visualise what the 3D garment looks like as a 2D paper pattern. I’ll then cut it and sew up a quick calico toile. That being said, once I start finding the fabrics, that's when the garment starts to evolve. Sometimes, I’ll sew multiple toiles, making small adjustments until it feels perfect.
I love this quote by Fryderyk Chopin and it’s something I try to remember when a design isn't feeling quite right; ‘simplicity is the highest goal, achievable when you have overcome all difficulties.’
What’s the importance of using local suppliers? How do you minimise waste in your own practice? I've always been aware of the manufacturing process. Working in ateliers, I speak to the machinists sewing the garments. It's important to me that those making Söder Studio are paid a living wage, and the working conditions are safe. If I don’t feel comfortable working there, I'm not comfortable with a Söder Studio garment to be made there. We have a wealth of talented machinists in London, and being a small business that's pretty hands-on, it felt natural to use local suppliers. Our first 60 pre-ordered smocks were cut out of fabric by myself, and sewn by two local machinists who I've had a working relationship with for almost a decade. I still have the offcuts from our smocks and samples of Collection 02; experimenting with ways to upcycle them. I’m continuing to find better ways on how to reduce waste and zero-waste pattern cutting is hopefully something I can incorporate into future collections.
Previous to Söder, you ran a paper company J+A. What made you start this project? We loved the simplicity and architectural element; something we struggle to find. J+A London was a joint project between James and me; one of our firsts. We struggled to find greeting cards that we liked and felt special enough to give to family and friends so we often made our own. We’re both really proud of what we created and the unique folding method we designed, as it was a true merging of our crafts, architecture, and pattern cutting. J+A ended during the pandemic, and as the world started to re-open, our focus shifted to other passions. He was getting more commissions and I had started to develop the first prototypes for Söder. We were working full time, doing up our houseboat, and just couldn’t dedicate the time it deserved. We still have stock so it may make a revival in the future.
Home
Has having your own clothing brand influenced the way you dress or shop? I've never liked clothes shopping and at school, I got bored of what was available so I started making my own. If I couldn’t find it, I would make it. Vintage, thrift shopping, or raiding my mom’s and grandmother’s closets became the norm and many of these pieces I still own today. Today, my wardrobe is either made by me, vintage and eBay finds, or gifted items from companies I've worked for in the past.
How has living on a houseboat supported your creative process with Söder? Living on the water gives me clarity and it’s been a wonderful hub of creativity; it forces you to stop and take in your surroundings. I can have a stressful day and once I'm home, it fades away. You become attuned to the seasons of the year, the weather, and most of all wind speeds. The water reflects the sun in amazing patterns on our walls and ceiling, this changes as the sun's angle changes throughout the year. Our whereabouts are ever changing and you'll suddenly see a new reflection you've never noticed before.
What does the day-to-day look like for you? Any rituals that you do? Every day is slightly different depending on how busy I am but mornings are my favourite. About three days a week I'll start off with either yoga on the boat or a run along the Thames. Then, I make porridge with fruit and a black coffee before cycling to the studio for 9:00am. While I have breakfast, I start off with emails, admin, or socials while my mind is full of the to-do list before starting my tasks for that day. This could be pattern cutting or draping a new style, sewing a toile, or sourcing new fabrics.
I’m still a freelance pattern cutter creating bespoke dresses for a bridal designer so I split my time. I have a bad habit of working late, once I'm into a task, time slips away quickly. I usually get home between 7:30pm - 9:00pm. James and I will cook dinner; usually a veggie bake and catch up on our day. The day ends with a cup of tea, occasionally a few squares of dark chocolate. I always aim to be in bed by 10:30pm - but usually, it's 11:30pm.
How do you feel grounded and create home comforts living on the water? Does the houseboat living community help to combat the loneliness of London? Ironically, it has made me feel more grounded. Before, living in different flats, I might have known the name of one or two neighbours. Now, I live in a marina with 50 neighbours. Sometimes, on a weekend it can take half an hour to leave because you stop to chat with everyone you pass on the pontoon.
Credit: James Retief (4,5,6)
Personal
Tell us something people may not know about you. Sometimes these things never feel relevant to share but are integral to us. I'm named after my maternal grandmother's maiden name. She taught me to sew.
How do you spend your free time? I love going out to a gallery or a coffee shop. London's so big there’s always a new part of town to explore. Getting out of the city to recharge is great and naturally, I gravitate towards the coast. I love a bit of wild swimming or a countryside walk.
How do you get out of a slump and find inspiration? In all aspects of life. Nothing is more inspiring than seeing a great exhibition; a sense of awe as you walk around the gallery. If I’m having a bad day, I switch up my playlist. Getting some great songs on, and a little dancing while I work. It's amazing how music can change your mood. Most importantly, if I'm overworked I know I need to get out of the city and into nature.
Restaurant: Kiln in Soho or Watergate in Deptford
Cafe: The original Watch House on Bermondsey Street, Nola in Peckham, Rosslyn Coffee or Scootercaffe
Bar: Below Stone Nest in Soho or 40 Maltby Street
Exhibition: Doris Salcedo at White Cube, Bermondsey, and the Deutsche Börse Photography Prize 2014 at The Photographers’ Gallery which showcased Richard Mosse’s ‘The Enclave.’ Both shows, visually and symbolically, took my breath away. Also, I'll never miss an opportunity to see works by Antony Gormley and Richard Serra.
Gallery: White Cube, Gagosian, Cadogan, V&A, or Tate Modern
Possession: My fabric scissors; a gift from my grandmother and my uncle’s vintage Levi's Jacket.
Activities: Running or cycling around London. Wandering around a gallery. Morning yoga or evenings in a cosy jazz club. Wild swimming. Or having a boogie in my kitchen while cooking.
Album: This changes with my mood; how stressed I am or what I'm working on. Currently, it's Françoise Hardy. Next week, it will certainly be something different.
Book: I tend to have a few on the go and I’m always slow to finish them. Currently, it's Malcolm Gladwell’s David and Goliath.
Ideal Dinner Guest: Lee Miller
Check out Söder Studio on Instagram for all things Collection 02 release on 18 May.