Rising British label HOUSE OF ERRORS creates eye-catching clothing unlike anything else in existence. Founded by “Fully”, he is creating elevated garments straight from the future.\n\n\nFully never regards his brand as streetwear and is adamant that pigeon-holing HOUSE OF ERRORS into that category is far too simplistic. Instead, Fully is creating his own creative universe and stretching its realms daily — and through plenty of trial and error, he’s found his calling in fashion. \n\n\n\n\n\nFrom architecture to graphic design and more, the designer creates at a breakneck pace — and has outlined his talents through HOUSE OF ERRORS. The brand’s “eye” logo has become its trademark, proving recognizable amongst fashion crowds, young and old. Its relaxed 400k-stitch garments often showcase Fully’s old-school inspirations, elevating his design language through HOUSE OF ERRORS’ recent summer drop. \n\n\nThe collection saw HOUSE OF ERRORS’ billowing designs reformed through gigantic padded trousers, embellished graphic vests, and sight-filled neckties, turning the page to formality. The brand’s hoodies and sweatpants continued to stand strong, given flared and pleated outlines nodding to 1970s style. \n\n\nAs HOUSE OF ERRORS continues its journey towards international domination, Fully sat down with Hypebeast for his interview debut, lifting the lid on the brand’s development, his recent sneaker collaboration with ALIVEFORM, and what he’s got his eye on next.\n\n\n\nWhat is the concept behind HOUSE OF ERRORS, and how did you create it? \n\n\nFully: In the summer of 2019, I was going to school for architecture. I was going into my final year and realized that I had to get a “real” job, and I didn’t really want to do that. Eventually, I bought a sewing machine — half out of boredom and half to make enough money to pay rent. \n\n\nI didn’t really care about fashion much, I wasn’t very into it at the time. I saw that the wave on Instagram had died out, and all that was left were these kids making random things on sewing machines. That was what inspired me more than anything. I wasn’t looking at what Louis Vuitton was doing, I was looking at what these kids were doing and how they could make a jacket and sell it and get a return on it, I thought that was sick, and I’d try it to make a bit of money. \n\n\nAt the back end of 2019, I cut everyone off, including all social activities. I was sitting in my room making pieces. Because I wasn’t knowledgeable of fashion, I was pulling from my own inspirations that I had outside of that. \n\n\nI looked back on those pieces recently and realized that it was really good, and I was really meant to do this. It just came to me naturally; before that, I tried to be an architect, make music, and tried movies, photography, and graphic design. I would rip up carpets and make them into clothes, patchwork fabrics that I wind find together and take things from kilo sales. I was just having fun, to be honest. \n\n\n“I saw that the wave on Instagram had died out, and all that was left were these kids making random things on sewing machines.”\n\n\nHow have your designs changed since you started until now? \n\n\nThe only way I knew how to get people to look at what I was doing was to make the craziest designs ever. The first thing I did that got a lot of traction was a hoodie with two teddy bears split down the middle. Half was white, and half was red. It had a teddy bear on each shoulder, one was the angel, and the other was the devil. \n\n\nAfter that, I tried to refine HOUSE OF ERRORS and make it more commercially accessible. I work with artisans and sewists with 20 or 30 years of experience, and I understand how to hone those skills. If you look at everything we do, it is a real modern interpretation of traditional craft, and it’s all about showing people things they may have seen before but in a completely different light.\n\n\nI spend days on end looking at art deco posters from 1920s Russia. I love old travel and movie posters, those things inspire me, and I always try to incorporate those references into my clothes.\n\n\n\nHOUSE OF ERRORS has become synonymous with inflated and puffed garments, how did you begin to explore that form of design? \n\n\nWhen I moved to London, I thought I wanted to make puffers. I was locked inside my tiny studio on Shoreditch at the time and stayed there the whole winter trying to figure out how to make a puffer jacket. I made my first samples by hand, and all my friends kept coming to my studio to look at them. As soon as I showed the world, it just happened, and that’s when HOUSE OF ERRORS was taken to a new level. \n\n\n“It’s all about showing people things they may have seen before but in a completely different light.”\n\n\nWould you like to explore other creative sectors outside of fashion? Such as art or furniture? \n\n\nI’m not very connected to the fashion industry, but I am part of that world right now. I believe that I do make art, and we are building a chair behind you right now, although it won’t be for sale. For me, I’m already in several different worlds. I’ve learned patience, and I think you’re going to see things when you’re meant to see them. Fashion is definitely not the only angle for HOUSE OF ERRORS. \n\n\nYou recently joined ALIVEFORM on your first footwear release. How did the 3D-printed footwear collaboration come about? \n\n\nI met some designers about 14 months ago, and we talked about making 3D-printed shoes that were easy to produce with the HOUSE OF ERRORS eye logo. There were a lot of constraints on 3D printing at the time, so at first, we left it. \n\n\nBy this time, I already had a drawing of the shoe and knew exactly what I wanted to make. A few months later, I saw this brand called ALIVEFORM making shoes online. They looked so soft and comfortable and were based on these crazy shapes. That morning I hit up ALIVEFORM and told them about the shoes I wanted to make. \n\n\nFrom there, I gave him the drawing and mapped out the plan — but honestly, they took it from there. He is the genius behind the technique. He really brought my idea to life, and we didn’t create something gimmicky because I didn’t want to make something that could be done in any other way.\n\n\nWould you be interested in designing more footwear in the future? \n\n\nOf course. Trainers, boots, we’re working on all of that, but it’s a very interesting field that I’m new to and trying to look at differently. I try not to add anything to the conversation that is already there, but I never want my collaboration with ALIVEFORM to end — the “TOPO-02” is in the works. There is a reason why we named it numerically. \n\n\nWhat can we expect to come from HOUSE OF ERRORS in the future? \n\n\nThis year you will continue to see me elevating the same design language. Next year I want to unload all the new things I’m working on, but right now, I’m trying to hone in on what I’ve got and take it to the next level. I want to have new drops out every couple of weeks and constantly produce. We’ve been working on some crazy things behind the scenes, and I want all that to come out soon.