When two creative minds meet, sparks fly — and this conversation lights up the future of fashion. Ksenia Sharonova, a visionary stylist whose work has graced the stages of post-punk bands and avant-garde fashion projects, meets Erik Charlotte in her art deco apartment in Los Angeles. Erik, a rising star in the world of fantastical avant-garde couture, is known for her unique ability to create wearable art. Their dialogue becomes a shared journey through the blurred boundaries of identity, culture, and high fashion, turning into a sincere and profound conversation.
They discuss everything from their roots in subcultures to how they handle the pressure of social media and the global fashion industry. This cross-interview dives deep into their creative processes, challenges, and shared passion for breaking outdated perceptions of what fashion “should” be. It’s a meeting of two visionary revolutionaries, pushing boundaries, erasing stereotypes around gender and design, and ultimately redefining how we perceive clothing today.
Ksenia and Erik wears dresses from ERIK CHARLOTTE, boots RICK OWENS and rings by CHROME HEARTS & VIVIENNE WESTWOOD
Ksenia Sharonova: Your designs often play with unconventional silhouettes and materials. How do you maintain that balance between pushing boundaries and creating something that still resonates with people?
Erik Charlotte: Based on feedback I’ve gotten from clients and people I’ve had the opportunity to work with on sets, I think the amount of love and passion I pour into each piece is really palpable, and people can tell that each outfit is a little piece of myself I share with the world. Sometimes when I design, there’s certain rules I create in my head. Like, I have this idea about volume that’s like my own universe’s version of the law of conservation of matter. Like if I’m taking volume away from the waist with a corset, that volume I took away needs to be multiplied somewhere else, like in a puffy skirt or a tall headpiece. I think that idea helps my work feel uniquely my own, while remaining flattering and visually compelling.
EC: Your work seems to span multiple subcultures, from punk to haute couture. How do you switch between those worlds without losing your distinct voice as a stylist?
KS: Switching between punk and haute couture comes naturally when you view them as different layers of the same creative vision. Each project may emphasize different aesthetics, but my distinct voice is rooted in bold, expressive choices and storytelling through clothing. Whether I’m working with raw punk elements or the sophistication of haute couture, I prioritize individuality and emotional impact. I see both as forms of rebellion—one is raw, the other refined—allowing me to fluidly adapt without compromising my personal style.
KS: Do you ever feel like you’re designing for a future that doesn’t exist yet, almost like you’re creating a vision of what fashion should be rather than what it currently is?
EC: For sure. My approach to silhouette and volume comes from this imaginary world in my mind where everyone dresses very avant garde on every occasion. I like designing for a fantasy world and bringing that into reality. Like, it would be really fab if everyone wore tulle bubble skirts and corsets everywhere. Maybe one day!
Ksenia wears dress by ERIK CHARLOTTE and MIU MIU heel sneakers.
Erik wears dress by Erik Charlotte, heels from PARIS TEXAS, belt and rings CHROME HEARTS
EC: You’re known for your work with post punk and dark wave bands like Molchat Doma, Twin Tribes and creating these immersive aesthetics. How do you tap into their sound and translate that into a visual narrative?
KS: I believe I’m incredibly fortunate to work with such artists. I grew up inspired by the aesthetics of the movies like Blade, Underworld, Queen of the Damned and The Matrix. This has strongly influenced my style and visual approach when working with artists. Their music resonates deeply with the visual perception of the world I developed as a child, and I think that’s where we connect. Their music reflects me in the same way I’d like to believe my styling reflects their sound.
KS: Do you find it hard to stay inspired or do ideas just flow naturally when you’re in your creative process?
EC: I definitely go through burnt out periods every once in a while, but there’s always at least five ideas swirling around in my head at all times. I like to let my ideas really marinate in my mind before I sketch them out. But sometimes I’ll get really spontaneous bursts of inspiration where I wake up in the middle of the night and have to write the idea down in my notes before I fall back asleep. If I’m in need of inspiration, I try to avoid looking at other fashion and instead getting inspired by the things that inspired me as a little kid: nature, architecture, video games, and music. Like right now, I’m especially inspired by marine wildlife and people who work out in the sea like sailors and fishermen. I think my favorite looks I’ve created are always inspired by something completely separate from fashion.
EC: How has your experience working in both Russia and Los Angeles influenced your approach to fashion and style?
KS: Working in Russia and Los Angeles is like comparing life on Mars to life on the Moon—completely different worlds and phases in my life. LA has unlocked my creativity, allowing me to express myself freely, while Russia, with its increasing conservatism, often limits that freedom. But I’m still Russian, and that’s an unchangeable part of me. My post-Soviet upbringing and the environment I grew up in continue to inspire me. Combining those childhood impressions with everything I’ve absorbed helps me find inspiration in all aspects of life.
KS: Is there a design that you created which felt so personal, you had a hard time letting it go or seeing someone else wear it?
EC: I was really apprehensive about letting another person wear my green bug taffeta look, since it’s so special to me and I feel like it represents so much to me. I think what helped me feel more comfortable was getting to dress someone in it myself, it felt really fulfilling to lace another person into the corsets and see their face light up once they looked in the mirror. I think that’s what I love about corsetry, it really transforms the wearer.
Ksenia wears dress by ERIK CHARLOTTE and MIU MIU heel sneakers.
Erik wears dress by Erik Charlotte, heels from PARIS TEXAS, belt and rings CHROME HEARTS
EC: In the age of social media, do you think it’s more challenging to maintain a genuine artistic vision when there’s this pressure to always be on trend?
KS: Even if sometimes it feels like nobody understands you, stay true to what you believe in. Trends and opinions will always shift, but your core values and artistic vision are what truly matter. Staying grounded in that belief will help you create something authentic and lasting, even when it feels like you’re going against the grain.
KS: If you had to dress someone for the most important moment of their life, who would it be, and what would you design for them?
EC: I would really love to design a wedding dress for one of my best friends. I recently designed a wedding gown for my first capsule collection, and it was such a beautiful process, even though it wasn’t actually for a wedding. I act really cynical and jaded about love on the outside, but I’m secretly super sappy when it comes to romance. Seeing one of my best friends in her wedding dress that I made would be amazing. It would definitely have to be something corseted and classic with a ton of volume.
EC: When you’re working with someone on a shoot or styling, do you feel like you’re a mirror for their personality, or do you inject more of your personal touch?
KS: I think it’s a bit of both. When I’m styling someone, I always want to reflect who they are—their personality, their mood, their energy. But at the same time, I can’t help but inject my personal touch, my vision. I like to think that people come to me for my vision and for the opportunity to collaborate. It’s about how I can take their personal essence and combine it with my creative direction to transform it into something new and beautiful. It’s a dynamic process, where their personality becomes the foundation, and I build on top of it, adding layers of my own perspective to create something unique, yet authentic to who they are.
KS: Fashion is about transformation, both for the designer and the wearer. What’s the most transformative piece of clothing you’ve ever created, either for yourself or a client?
EC: I made this ballerina inspired brocade corset, bonnet, and bubble skirt a few months ago and even though it’s not one of my most “out-there” looks, I felt like a completely new character wearing it. Like some sort of wounded ballerina in the center of a music box. It was so much fun to pose in — I probably took like a million photos in it just trying out different poses and expressions. When I got to dress a friend in it for a shoot, I could tell they were emulating that type of character as well. I love when a garment has that transformative ability.
EC: What do you think is the most important thing in life?
KS: I believe that the most important thing in life is faith. Faith in who you are. Faith in yourself. Faith that you are doing the right thing. Faith that you are contributing to society, making it more beautiful, better. And, above all, faith in a bright future.
KS: How would you describe your designs in one word?
EC: If I had to describe my work in one word it would be romantic. Maybe not always in the typical sense, but I think my work really represents the romantic view I have of the world — I think everything has the capacity to be beautiful.
Credits
Photography by Rogue Bonaventura
Muah by Vlada Kozachyshche
