Manx fashion designer Molly Kathryn Wade is making big waves in the world of fashion. Recently we spoke with her about her passion for her profession.
What are your own roots?
I am originally from Peel, Isle of Man.
Where do you currently reside?
I currently live in London where I work full-time for Vivienne Westwood and on my own practice in my spare time. I have split my time between here and the Isle of Man for the last 8 years.
When and why did you first become interested in fashion?
I can’t remember a specific moment where I realized I was interested in fashion, but I have always felt compelled to pursue this route. I have always been drawn to materials and different textures, and I think it is fascinating how fabric can be manipulated in so many ways. So many narratives can be told through fabrics; almost like a woven tapestry that records stories and history of culture, and the wearer. Creating wearable pieces out of this and seeing them come alive by the people that wear them was just a natural progression for me, as the pieces will inhabit totally unique personas by the people that wear them.
Are they the same reasons that you continue to be involved today?
Absolutely. Whenever I face creative blocks or doubt my work, I reconnect with the instinctive drive that led me to this path. It reminds me that I what I do is worthy to put out in the world for others to enjoy. Over time, I’ve come to see fashion not just as an art form but as a communication tool – a medium to share my values with the world. Fashion transcends any language barrier and is an effective tool of communication; wearing someone’s designs signals alignment with their values and aesthetic. This keeps me inspired to continue creating work that resonates with people.
How has your work evolved over the years?
My work has grown increasingly sustainability focused as I’ve become more aware of the realities of production and the impact of supply and demand. This has reshaped how I approach my business model and my relationships with suppliers and customers. I now prioritise creating pieces that stand the test of time—garments that maintain their value and relevance long after the fleeting buzz of a fashion moment. I also do not consider trends and hype, or what is considered ‘fashionable.’ Instead, I focus on building narratives that foster a sense of timelessness, grounded in craftsmanship and material authenticity.
What are the challenges of the vocation?
The financial challenges of starting a product-based business are immense, especially with limited funding. Designing, developing, and producing collections is incredibly time-consuming, and balancing this with a full-time job often feels overwhelming. Financial backing opens doors and opportunities that many lack access to, which leads to those from higher class backgrounds dominating the industry and systematically excluding talented individuals from working-class backgrounds. For this reason, I’d to move my practice outside of the city, and encourage making creative opportunities more accessible to diverse demographics. Expanding the reach of these fields would bring fresh perspectives and invaluable contributions to the industry.
What are the rewards?
Receiving compliments on your work and seeing real people connect with your work gives me a high like no other. I love putting creations out in the world that resonate with people. It can reach corners of the world and communicate with people in a way I would never be able to do otherwise. This year, I’ve also had aspiring fashion students approach me for advice, which is surreal. Being in a position to guide others is deeply rewarding, as I understand how difficult it is to find your footing in this industry. Sharing my experiences and helping others to follow their path feels like a way of giving back. What have been some career highlights? Representing the Isle of Man at the Festival Interceltique de Lorient was an incredible experience, as was participating in London Fashion Week and receiving recognition in natural design competitions.
Is your creative process more ‘inspirational’ or ‘perspirational’?
At its core, it’s inspirational. I’m driven by ideas, storytelling, and the materials themselves. I seek escapism in everything – I’ve always been a bit of a dreamer!
What makes your work unique?
I try to approach my work with a deep commitment to understanding the origins of materials and their journey through the supply chain. In my latest collection, I delved into the production of leather, uncovering gaps in our knowledge about its origins, and wanted to try and change that. The collection was a response to developing a bespoke production system that included working with local abattoirs and independent tanneries; which helped me build really strong relationships with the materials as I was so involved in the production of them. I think it is probably a very intense approach to sourcing materials, but it infuses my work with authenticity and evokes strong emotional reactions from those who experience it. It all draws back to constructing narratives in a way that feeds the idea of escapism through fashion. This helps me channel storytelling and escapism, realised through meticulous craftsmanship and sustainable practices.
Who are your clients, and how do you reach them?
Networking and word of mouth have been my most effective tools for connecting with clients. Staying immersed in the creative community and saying “yes” to opportunities often leads to new contacts and expands my reach.
What makes a good piece/item of clothing?
A truly great garment is timeless—it transcends fleeting trends and remains relevant over decades. A garment that can be reinvented countless times, or adapted to so many different styles with a classic suit or coat – this is the clothing that can grow in value as it ages, storing the history of all its wearers.
What are your thoughts on the current state of fashion?
The industry’s current model is increasingly unsustainable, particularly for emerging designers. The bi-annual fashion calendar and endless seasonal cycles are financially unviable. However, I believe these challenges are paving the way for more imaginative business models and innovative ways of showcasing and selling work. So yeah, although it’s tough, I anticipate exciting potential for change and creativity in the years ahead!
How can it be improved?
We always need to be supporting emerging designers and new creatives! Opportunities for nurturing creativity are shrinking, especially with cuts to arts education; it is contributing to an increasingly volatile landscape. Encouraging funding and mentorship for young designers would help build a more inclusive and innovative fashion landscape.
What’s next on your creative agenda?
I’m planning to develop a capsule collection that continues to tell stories through clothing. I also want to deepen my collaborations in both the fashion industry and the Celtic arts scene to solidify my identity as a Celtic designer. There’s so much untapped potential in celebrating cultural heritage within fashion, and I hope to create work that resonates as both a celebration of tradition and a challenge to the unattainable wealth-driven narratives often associated with the industry.
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