Ricardo Marcus Burt
Whats your name and where are you from/Based?
Hey my name is Ricardo Marcus Burt and I’m from Devon but based in London. It feels like home now.
Can you describe what you do in a few words?
I’m a designer and creative focusing on fields of art direction and storytelling through fashion.
What led you to the title “Music is a Weapon”?
It’s from a Fela Kuti track and in short, it is supposed to make you think about the power of music. However to me it runs a bit deeper than that, when I was younger in Lockdown and around Black Lives Matter a close friend – Kate Rudman put me onto Gil Scott heron – the revolution will not be televised. Gil in my opinion made protest music and used his skills to empower and amplify the black liberation movement. He stuck it to the man! For me Gils music along with Syl Johnson, the sugar hill gang and Public enemy really spoke to me. Actually it fired me up and I felt so proud to be black. Music had that power, just like certain clothes do when I put them on. From there on I’ve always seen how it’s soundtracked my life and been that deep rooted force firing me forward. So music is a weapon, it’s a lifeline, it’s the embodiment of power and strength.
This collection is a culmination of three years. What changed or deepened for you over that time?
I think the way I expressed deeper thoughts and explored subjects that the world presented deepened over the time and allowed me to express them through garments in a better more nuanced way. Over the years I started to see my work through a curated lens which meant the smallest detail was thought over, considered , changed and re drawn. The garments are walking breathing conversations. In my first year I very much put prints onto garments and the prints said something, the graphics explored feelings of drowning on land- the sea being this force that cuts of progressive views and actions. My exhibitions were large and slightly all over the place making an impact straight away. However now the impact hits the closer you get. From the paper you touch, the font you read, the angle of the clothes to the combination of seams and where they are- everything is thought about and explored. I think now after three years the journey when experiencing my work starts from the moment you enter the space to the moment you leave- it’s more long lasting. A bit like music, it’s always with you, so why can’t my work do the same feeling if that is what I’m referencing. I also think I know myself better now, I’m starting to really know what feels like me; fabrics,buttons, colours etc.
You mention the creases behind trousers from sitting too long, what draws you to these quiet, lived-in details?
I think that’s exactly the point, they’re lived in. From the first day I started making garments I’ve always told people to wear them to death, stain and breathe in them. It’s so nice to see a pristine garment but in the end that is all it is, it’s perfect and polished like a great work of art. But where is its soul, where is the journey or the life. Exploring creases and literally printing “made to be worn” into my garments is a real declaration of how I intend my work to live in this world. I own clothes that I had when I bought when I was 14 with the money I earnt from working with my radio station. They’ve been over washed, worn and slightly marked by pen or paint. I still wear them to this day, because they almost age like fine wine.
Actually there’s a garment I made with cut up shirt sleeves and it’s been through everything with me, I still get compliments on it today. It means more than a new polished piece of clothing that is too nice to wear.
Clothes are not just something we wear, they come around with us – on first dates, gallery’s, family dinners, holidays and adventures that shape us. I think they’re just as sentimental as photographs so it’s strange we treat them differently and discard them so quickly or refuse to wear them more than once. If I could I’d love to live in my memories.
Did you find yourself uncovering any overlooked cultural references during your research?
I think discovering more deeply about how you cannot define jazz music and you have to resort to the technicality of its syncopation. Syncopation patterns that originated from slave hymns , I don’t know whether that is overlooked or just under researched. Music is so powerful and has a very deep rooted history of its own and to us as human beings – yet it is still seen as being a passive product. These origins of jazz music did make me reevaluate how I see sound and my favourite genres’ true origins.
Is there a piece in the collection that feels most personal or emotionally charged to you?
For me it’s the Irish linen and screen printed jacket with a double collar and raglan sleeve detail. It makes me emotional to think about it because the garment pattern of the jacket was created by my best friend – Lydia Paget. It was the second year of university and we were living together in our London home. She’s incredible at pattern cutting and can really see my vision and intention when designing. So we worked together to execute my vision. I used that same pattern a year later for this collection and when I look at the jacket it doesn’t just remind me of her. It reminds me of the countless friends who have been involved in my journey, the hands, the support and the criticism. All which push me further to be better, to really make a mark in this creative world which is full of noise. To be here, to be speaking to you today is down to so many people who have supported me, I love them all!
How do you situate your work within the wider landscape of menswear?
That’s a tricky one because I think I can’t see myself not producing work or making an effort to explain and further my point. I think menswear as a whole is very safe but rich in history, many of my favourite menswear designers don’t exactly push the boundaries of what fashion is but they push your knowledge on what you see the garment as. I think within menswear I like to be this creative, whose work is intrinsic to me but also my research is baked in. It’s curated work to make your brain think deeper. Rooted firmly in black research and developed throughout every angle and piece. I guess rather than shake up the menswear scene, I want to sit within it as one of the trusted meaningful ones, you know if you’re coming to me you’re getting research, reason and intention behind every thought and detail. I’m not chasing short term wins rather long term steady intentional impact.
What’s next for you creatively or personally?
I would love to know that too! I never know what is coming round the corner but as long as I am facing and moving forward, I’m happy!
Where can people find you?
Soo I’m on Instagram @ricardomarcusburt and the brands page is @marcus__burt . I’ve got a lil portfolio too & many Spotify playlists
www.ricardomarcusburt.com .
