ᱵᱤᱥᱚᱭ ᱨᱮ ᱪᱟᱞᱟᱜ ᱢᱮ
Estyn Hackshaw

✓ ᱯᱩᱨᱥᱠᱟᱨ-ᱯᱟᱨᱠᱷᱟᱭᱟᱠᱟᱱ ᱰᱤᱡᱟᱭᱤᱱ-ᱟᱜᱩᱣᱟᱭ ᱵᱽᱨᱟᱱᱰ ᱭᱩᱱᱟᱭᱴᱮᱰ ᱥᱴᱮᱴᱥ ᱥᱴᱟᱨᱴᱚᱯ

Estyn Hackshaw

  • ✓ A' ᱰᱤᱡᱟᱭᱱ ᱮᱣᱟᱨᱰ ᱨᱮᱱᱟᱜ ᱡᱤᱛᱠᱟᱨ᱾
  • ✓ ᱯᱷᱮᱥᱚᱱ ᱰᱤᱡᱟᱭᱱ ᱨᱮ ᱵᱤᱥᱮᱥ᱾
  • ✓ ᱱᱟᱣᱟ ᱪᱮᱛᱟᱱᱤᱭᱟᱹ, ᱢᱚᱱ ᱞᱟᱹᱜᱤᱫ ᱟᱨ ᱱᱟᱣᱟᱴᱟᱨᱤ᱾
1ᱯᱩᱨᱥᱠᱟᱨ ᱠᱚ
№ 4,533ᱫᱩᱱᱤᱭᱟᱝ ᱨᱮᱝᱠ
№ 416ᱭᱩᱱᱟᱭᱴᱮᱰ ᱥᱴᱮᱴᱥ ᱨᱮᱭᱟᱜ ᱨᱮᱝᱠ
0ᱵᱤᱥᱮᱥ ᱠᱟᱹᱢᱤ ᱠᱚ

ᱰᱤᱡᱟᱭᱱᱟᱨ

Estyn Hackshaw ᱵᱟᱵᱚᱫ ᱨᱮ

Born in San Francisco to a free-thinking couple from
New York and Minnesota, Estyn began learning art, design, costume, and natural sciences during her early childhood. Learning primarily from her mother who had previously worked making elaborate costumes for the American Conservatory Theater. Estyn's mother had learned dressmaking from her mother, who could improvise immaculate dresses without any pattern.

Estyn's liberal childhood, included many summers spent at the
Buddhist Zen Center near Big Sur, California. She grew up largely unaware of mainstream fashion.

At 17 Estyn learned about the possibility of a career in fashion design and began studying fashion and figure drawing at the Santa Rosa Jr. College and the Academy of Art University in San Francisco. At 19 she
was awarded second place prizewinner in the Fashion Institute of Design & Merchandising National Scholarship Award in San Francisco. She later graduated Phi Theta Kappa with her Fashion Design degree in 2004.
Prior to her graduation, Estyn accepted an offer from her former teacher, the then Director of Production at BCBG MAX AZRIA and began her career in Los Angeles just two days after her graduation. 2004 Marked her professional beginning in fashion design. The 20 year old received creative direction from Marie Mazelis (now Director at Halston Heritage), Lubov Azria, and couture dossier Alina Pizzano. Estyn developed an expertise in Soft dressing, color story building, trend research, and concept development.

After BCBG MAX AZRIA, Estyn designed for labels such as Ella Moss, Nordstrom's Felicity & Coco, Tommy Bahama, AG Jeans, Bebe Sport, and Michael Stars. Estyn’s designs, under these labels, have been featured on Television, billboards, in films, and worn by A-list celebrities such as Giselle Bündchen, Allesandra Ambrosia, Jennifer Lopez, Jessica Alba, Nicole Richie, Ashley Greene, Nikki Hilton, Selena Gomez, and countless others. Estyn's fashion illustrations have been featured by Pantone's Color Forecast.

In 2013 Estyn met her match and spent years in the pristine German countryside along the Swiss-Austrian border building her family. In 2015 between Los Angeles and Germany, she set up design spaces and founded her own label Estyn Elan Engl Studio.
The special techniques and motifs of traditional folkswear in combination with modern lifestyle are what largely inspire this designer.
The brand, Estyn Elan Engl, is important because it's a brand for today and for the future. The brand creates exciting pieces featuring luxurious details both inside and out. The focus here is lifestyle rather than trend, or season. The intention is to see women fully empowered, as well as uphold the new standards of ethical, sustainable, and clean living.

There is a revolution happening in the fashion industry. How people shop, how people buy. Estyn Elan Engl is paving the way off the traditional fashion grid. The brand does not follow the traditional calendar. Pieces are released as they are inspired, created, and photographed. Largely influenced by the culture of California, the pieces are reflecting adventurous luxurious bohemianism. Other influences are drawn primarily from historical fashion and world-wide cultural traditions. With a serious attention to the details, these are pieces worth collecting.

ᱫᱩᱱᱤᱭᱟᱝ ᱰᱤᱡᱟᱭᱤᱱ ᱨᱮᱡᱤᱥᱴᱨᱤ ᱯᱟᱨᱠᱷᱟᱭᱟᱠᱟᱱ ᱥᱫᱚᱥᱭ

Estyn Hackshaw ᱯᱨᱚᱼᱯᱷᱟᱭᱤᱞ ᱢᱤᱫ ᱧᱮᱞ ᱨᱮ

ᱫᱤᱥᱚᱢ
ᱭᱩᱱᱟᱭᱴᱮᱰ ᱥᱴᱮᱴᱥ
ᱮᱠᱟᱣᱩᱱᱴ ᱞᱮᱠᱟᱱ
ᱥᱴᱟᱨᱴᱚᱯ
ᱵᱤᱥᱮᱥᱜᱭᱟᱱ
ᱯᱷᱮᱥᱚᱱ
ᱫᱩᱱᱤᱭᱟᱝ ᱰᱤᱡᱟᱭᱤᱱ ᱨᱮᱴᱤᱝ
ᱟᱜᱟᱢᱤ ᱯᱮᱥᱮᱣᱚᱨ
ᱥᱛᱚᱨ ᱞᱮᱠᱟᱛᱮ ᱯᱩᱨᱥᱠᱟᱨ ᱠᱚ
ᱨᱩᱯᱟ 1

ᱚᱠᱟ ᱨᱮ ᱯᱩᱨᱥᱠᱟᱨ ᱧᱟᱢ ᱮᱱᱟ

ᱯᱩᱨᱥᱠᱟᱨ ᱧᱟᱢᱮᱱᱟ

ᱰᱤᱡᱟᱭᱤᱱ ᱵᱤᱥᱟᱭ ᱠᱚ ᱡᱟᱦᱟᱝ ᱨᱮ Estyn Hackshaw A' Design Award ᱡᱤᱛᱟᱣ ᱮᱱᱟ᱾

ᱯᱚᱨᱴᱯᱷᱚᱞᱤᱭᱚ

ᱵᱤᱥᱮᱥ ᱠᱟᱹᱢᱤ ᱠᱚ

ᱱᱤᱛᱚᱜ, Estyn Hackshaw ᱨᱮᱭᱟᱜ ᱡᱟᱦᱟᱱ ᱠᱟᱹᱢᱤ ᱟᱞᱮ ᱫᱮᱠᱷᱟᱣ ᱵᱟᱝ ᱫᱟᱲᱮᱭᱟᱜ ᱠᱟᱱᱟ᱾ ᱱᱚᱣᱟ ᱫᱚ ᱥᱟᱹᱨᱤ ᱛᱮᱛᱮ ᱞᱟᱭᱥᱮᱱᱥ ᱵᱟᱝ ᱢᱮᱱᱟᱜᱼᱟ ᱟᱨᱵᱟᱝ ᱠᱟᱹᱢᱤ ᱠᱚ ᱫᱚ ᱞᱩᱠᱟᱣ ᱵᱤᱥᱟᱭ ᱨᱮ ᱢᱮᱱᱟᱜᱼᱟ᱾ ᱞᱩᱠᱟᱣ ᱵᱤᱥᱟᱭ ᱠᱚ ᱫᱚ ᱯᱮᱴᱮᱱᱴ-ᱯᱮᱱᱰᱤᱝ ᱯᱨᱚᱰᱟᱠᱴ ᱠᱚ, ᱵᱟᱝ ᱩᱫᱩᱜ ᱪᱩᱠᱛᱤ ᱛᱟᱞᱟᱨᱮ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ, ᱢᱤᱰᱤᱭᱟ ᱮᱢᱵᱟᱨᱜᱚ ᱛᱟᱞᱟᱨᱮ ᱠᱟᱹᱢᱤ ᱠᱚ, ᱵᱮᱯᱟᱨ ᱜᱩᱯᱛᱤ ᱟᱨ ᱜᱚᱯᱟᱱᱤᱭᱟ-ᱨᱟᱠᱷᱟᱠᱟᱱ ᱯᱨᱚᱡᱮᱠᱴ ᱠᱚ ᱞᱟᱹᱜᱤᱫ ᱨᱟᱠᱷᱟ ᱦᱩᱭᱩᱜ ᱠᱟᱱᱟ᱾

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ᱟᱞᱮᱭᱟᱜ ᱵᱤᱜᱽᱭᱟᱯᱚᱱ ᱥᱟᱹᱜᱟᱹᱭ ᱠᱚ ᱠᱷᱚᱱ ᱯᱨᱚᱰᱟᱠᱴ, ᱥᱮᱵᱟ ᱟᱨ ᱢᱚᱠᱟ ᱩᱫᱩᱜ ᱢᱮ᱾

ᱵᱷᱟᱞ ᱰᱤᱡᱟᱭᱱ ᱢᱟᱨᱟᱝ ᱪᱤᱱᱦᱟᱹ ᱦᱟᱛᱟᱣ ᱞᱟᱹᱠᱛᱤᱭᱟᱜᱼᱟ

A' ᱰᱤᱡᱟᱭᱱ ᱮᱣᱟᱨᱰ ᱫᱚ ᱵᱷᱟᱞ ᱰᱤᱡᱟᱭᱱ ᱞᱟᱜᱤᱫ ᱢᱤᱫ ᱟᱱᱛᱚᱨᱡᱟᱛᱤᱭ, ᱡᱩᱨᱤ ᱵᱤᱪᱟᱨ ᱠᱟᱱ ᱢᱟᱱ ᱠᱟᱱᱟ᱾ A' ᱰᱤᱡᱟᱭᱱ ᱮᱣᱟᱨᱰ ᱨᱮ ᱵᱷᱟᱜ ᱞᱮ ᱟᱢᱟᱜ ᱠᱟᱹᱢᱤ ᱞᱟᱜᱤᱫ ᱡᱚᱜᱽᱭᱟᱛᱟ ᱨᱮᱱᱟᱜ ᱪᱤᱱᱦᱟᱹ, ᱱᱟᱢ, ᱢᱟᱱ ᱟᱨ ᱯᱨᱪᱟᱨ ᱧᱟᱢ ᱞᱟᱜᱤᱫ᱾ ᱟᱢᱟᱜ ᱠᱟᱹᱢᱤ A' ᱰᱤᱡᱟᱭᱱ ᱮᱣᱟᱨᱰ ᱞᱟᱜᱤᱫ ᱱᱚᱢᱤᱱᱮᱴ ᱠᱟᱛᱮ ᱢᱟᱱ ᱟᱠᱟᱱ A' ᱰᱤᱡᱟᱭᱱ ᱯᱩᱨᱟᱥᱠᱟᱨ ᱞᱟᱜᱤᱫ ᱯᱨᱚᱛᱤᱡᱚᱜᱤᱛᱟ ᱢᱮ᱾

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