SOMA Magazine SOMA Film and Music Issue Aug 15 | Page 20

style

Fariba Soltani

Architecture of a Scarf
TexT by Jennifer moulaison
PhoTograPh by karolina bill

While the concept of a scarf is hardly novel in the accessories by the metamorphosis that occurs in flames, with its smoke
market, nor to fashion for that matter, a scarf that draws its as a momentary canvas suspended in air. Soltani found the
inspiration from interior architecture is more extraordinary.
apparitions of flame, when captured by a camera, offered
“My background is in architecture, hence my love for clear uncluttered, fluid movement that’s inherently bold and exudes
lines and subtle choice of colors,” says Fariba Soltani of her modernity and classic style—ideally suited to what she wanted
uncommon transition from a successful career in architecture to create with her scarves. The Salda, which translates from
to producing original prints and textiles for her collection of Persian to mean, “Mountains,” was inspired by the study of
scarves. These ensemble-emphasizing accessories offer a pleas- natural stone and reflects the variety of colors of onyx when
ing juxtaposition of angular abstraction and symmetry with fluid in its original quarry state. The compositions make a series of
patterns that represent natural elements like fire and stone for abstract, multi-layered geometric proportions in rich, yet muted
a truly unique product.
colors. Each scarf in this collection, rendered in modal blends,
Soltani, (whose self-taught mother also possessed a vision is named after a mountain in Iran.
for authentic pattern creation and designed handmade Persian
Soltani strives to find an unconventional approach to her
rugs,) originates from Isfahan, Iran but eventually made her way design. She finds herself most inspired by cultural heritage, hidto London in pursuit of her education. After attending Kingston den beauty in nature, geometric proportions and the concept of
University, Soltani worked with renowned architecture firm, time, speed, and movement. And her methods, though innovaFoster & Partners as well as Fox Linton’s design office, where tive and ultra modern in style, are entirely old-school in their
she cultivated a diverse range of design and project experience. creation. “I use a sketch book heavily for design developments
Soltani has since successfully freelanced as an interior architect and research. I would only put into production that with which
for six years, carrying out luxury residential and trade exhibi- I feel closely connected and that has a strong design quality for
tions throughout the United Kingdom and beyond. From this myself.” This dedication to create innovative renderings of natuexperience she developed a strong interest in prints and patterns ral and spatially organized designs make an accessory that needs
with prominent abstraction, geometry and story-telling capabili- little help from its supporting ensemble in order to make a bold,
ties. This interest soon made its way into Soltani’s work where chic statement.
she began to feature her own original textiles and patterns in
Currently, Fariba Soltani’s work is being picked up by bouher interior designs.
tiques and high-end departments stores such as Fenwick of
Inevitably, captivated by the idea of transitioning her pat- Bond Street and will soon be launching in Qatar’s luxury store,
terns to wearable textiles, Soltani combined her love of fashion Blue Salon.
With such an obvious proficiency in generating wearable texwith her graphic interest, and experience in architecture. “For
me it is very natural to print my designs on an item that I love to tiles, perhaps we can expect more garment styles to come from
wear,” says Soltani. She quickly discovered silk, cashmere, and Soltani? “For the foreseeable future it is only scarves,” she says.
modal to be ideal materials for hosting her distinctive motifs, “But my intention is to grow and expand. Though not something
making scarves her natural choice of garment.
I can say much about right now, I am currently working on some
Soltani has debuted two striking scarf collections: The private commissions, developing prints for a very spe