Fashion Dialogues - BYE BYE STUDIO

Meet Carmen, the Founder of Millia

Join us in an exclusive interview as Carmen Speckens shares insights into her journey, unveiling the story behind MILLIA, her luxury leather brand based in Amsterdam. Carmen’s debut collection, meticulously produced in the renowned leather hub of Ubrique, draws inspiration from the eclectic design trends of the ’70s, offering a gender-fluid selection for those who dare to defy fashion norms.

Delve into the behind-the-scenes story of how she guided MILLIA to a successful launch!

Carmen, can you tell us a bit about yourself and your background?

Since I was a little girl, I have been interested in fashion. After high school, I was unsure about what to study. I took a career aptitude test, which didn’t strongly suggest a design study. I was creative, but not creative enough for design. Ultimately, I chose to study law, which turned out to be too dull for me. I discontinued my studies and pursued a degree in Trendwatching, which I successfully completed. After working in PR for a few years, I decided to follow my passion and start my own brand.

What inspired you to venture into the luxury leather industry and establish MILLIA?

I noticed that many high-end brands charged a substantial amount for a designer bag. I wanted to create a brand that upheld the same quality and iconic design but offered an accessible price point. Additionally, I aimed to establish a brand that is fluid; I observed many websites specifying products for women or women’s bags. We live in an age where fashion is fluid and should be communicated as such. MILLIA is for her, for him, and for them. It’s for those who aren’t afraid to go against the (main) stream.

The debut collection draws inspiration from 70s design trends. What specific elements from that era influenced your creative process?

Organic shapes and eclectic color schemes were my main inspirations. The Ultrafragola mirror from the 1970s served as a significant influence. I noticed this aesthetic increasingly embraced by new interior designers and wanted to incorporate it into fashion.

What challenges did you face in the process of launching your own brand, and how did you overcome them?

The most difficult obstacle that I’ve had to encounter, was to find a reliable manufacturer. Also, I’ve noticed that it is super difficult to ‘get in’ as a start-up brand. Most manufacturers work with established brands and don’t want to work with start-ups. In the beginning of the process, I’ve contacted 12 manufacturers in Spain alone. Eventually I’ve found one, but at last minute they cancelled the productional agreement. I had to start all over again, and eventually found a manufacturer that could produce my designs.

How did you fund the launch of your brand, especially given the financial challenges new brands often face in the fashion industry?

I am very fortunate and grateful that someone in my family recognized the potential of my idea for MILLIA. Following the presentation of my business plan, I was able to secure a loan. I realize that this is indeed quite exceptional, and I would recommend that if this option is not available, one should explore finding an investor or approach the bank for a loan.

For those aspiring to collaborate with artisans in Ubrique or similar specialized regions, what practical advice would you give concerning the production journey?

Have patience. Most factories deal with numerous brands, including those with larger budgets capable of ordering more bags. As a startup, you might be pushed to the background simply because you order fewer bags than bigger brands. I experienced a delay of 6 months (an entire season) because larger brands took precedence. Unfortunately, this is part of the process.

From your experiences, what key learnings would you share with new designers establishing their brand?

Recognize your strengths and weaknesses. I quickly learned that anything I wasn’t good at or didn’t understand well could be better outsourced. If you aim to establish a high-end brand, you also need a high-end website. Invest in it. Additionally, make the most of your network. There are plenty of people willing to help if you ask for it.

As we round off our interview, could you provide a sneak peek into any upcoming projects or collections for MILLIA?

The initial goal is to build brand awareness and launch the first design of the OLA bag. Following that, the plan is to expand to four new colors. Subsequently, I aim to venture into laptop bags and sleeves. I’ve noticed a lack of stylish laptop bags; they are often more utilitarian in design. Additionally, the long-term vision includes expanding into small leather goods such as wallets, belts, and mini bags.

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Le goût juste, the design quality nobody talks about

Why do some designs feel just right, and others leave you with nothing?

The expression le goût juste actually comes from cooking. It describes the optimal balance where a dish expresses its authenticity, its quality, its origin, without artifice. Nothing added to compensate, nothing hidden behind technique. Just every element being exactly what it should be. And I have always believed fashion works exactly the same way. It is about how you dose the components, the materials, the colours, the volume, each one balanced with precision so that the final design feels just right. It goes beyond personal preference, beyond good taste in the subjective sense. It is what separates a design that travels through time from one that belongs to a season and disappears with it.

Le goût juste is not about a certain style, and it is not about making everything look good in a conventional sense. It is about daring to go beyond limits, to try something new and defend it completely. Miuccia Prada built an entire language around what the industry once called bad taste. Nylon bags, awkward colours, strange proportions. Yet the conviction behind it made the result feel inevitable. Rei Kawakubo with her label Comme des Garçons went even further, challenging everything, femininity, the body, beauty conventions, and yet every decision in her collections was completely committed and just.

This is what I call the commitment principle. In design you cannot stay in between. If a silhouette needs volume, push it all the way. If a colour feels too strong, that tension is often the reason it works. The moment you pull back because something feels like too much, you lose the idea entirely. You end up with a design that says nothing, that pleases no one, that belongs to no one. Le goût juste requires a point of view and the courage to defend it all the way to the end, even when it makes people uncomfortable, even when the client hesitates, even when the market seems to be going in a different direction. Having a vision is not enough. You have to hold it.

I remember working on a bag where everything was technically correct. The proportions, the construction, the details. And yet it felt too ordinary. We kept adjusting small things but nothing changed. The design was polite, and polite was the problem. We tried different sizes and pushed the volume further until it led us to an oversized version that finally made sense. Sometimes it simply takes time and experimentation to find the right point where the volume, the material and the details suddenly fall into place.

And yet le goût juste is becoming increasingly rare. Not because talent has disappeared, but because the conditions that allow it to develop have. Fast fashion changed everything, not just the product but the entire culture of creation. When a collection has to be designed, produced and delivered in weeks, there is no time to ask why. No time to look slowly, to observe, to question a decision until it becomes truly right. The result is an industry that copies references it barely understands. Ideas move faster than designers have time to digest them. Collections multiply, but conviction disappears. Today most design is made to fit in, to be safe, to sell immediately. And when you design only to sell immediately, you design against le goût juste. Because le goût juste never comes from speed. It comes from time, from looking, from the courage to be wrong before you are right.

So can le goût juste be learned? I believe it can. Some people are fortunate enough to grow up with it, raised by parents or grandparents who opened their eyes early and explained what works together and why. But it can also be developed later, through good fashion schools, through curiosity, through reading, looking and questioning. Looking at art, at design, at what earlier designers and artists created and asking why they made certain decisions. Not just admiring, but trying to understand the intention behind every choice. Then experimenting, making mistakes, trying again. It takes time. And it is never finished learning.

Until next issue, Bye Bye Studio