We first came across Fields of Necessity through its thoughtful approach to everyday objects — simple, useful things made with a clear sense of purpose and an appreciation for how they are made.
There’s something refreshing about the idea of slowing down and paying a little more attention to the things we live with. Rather than making for the sake of it, Fields of Necessity focuses on objects that have a reason to exist, with an emphasis on materials, craftsmanship and longevity.
We caught up with Peter to talk about where Fields of Necessity came from, the ideas behind the things he makes, and some of the influences and interests that sit outside of the project.
Can you tell us a little about how Fields of Necessity came about, and what initially pushed you to start the project?
While working in the industry, I always felt that at some point I would want to work for myself. But I never really imagined that would mean starting a brand. There are already so many brands out there, and I wasn't sure another one was needed. After leaving my previous job in 2023, I took almost two years to work with other people, step back and think. Slowly it became clear to me that I wanted to develop my own language and build a small world at my own pace. And through that, to meet people who feel the same way. Along the way, I realised that is also how the clothing I love, and this industry, have always carried on.
There's a real sense of simplicity and purpose to the things you make. How do you decide what is genuinely necessary, and what makes something worth producing?
I think of myself less as a designer than as someone who kept noticing what I didn't need. Deciding what is worth making is very personal. For me, if I can imagine a piece becoming part of someone's life, something they will happily wear over and over until it wears out, then I think it is worth making.
Where do you look for inspiration? Are there particular places, people, objects or periods that continue to influence the way you work?
It comes from lots of places, but one I always go back to is The Photographer's Gallery in London. I try not to miss any of their exhibitions. They often focus closely on one person or one period of time, and I always feel something from those photographs that I can't really explain. A kind of closeness to people I have never met.
What does a typical day look like for you? Has the way you work changed much since starting Fields of Necessity?
In the morning and early afternoon, I try to do anything that needs my eyes first, like design, fabric and colour. It's a bit funny, but all the lighting in my flat is the same warm orange tone, so once it starts getting dark I can't look at colour properly. Summer is okay, but last winter we had a month of almost constant rain and grey skies, and that was hard. Later in the afternoon, as the light goes, I deal with emails and admin. Three seasons in, not much has changed. We recently launched the website and things are getting busier, but what I do is still repetitive and reductive, and I really love that.
Outside of Fields of Necessity, what are you into at the moment? Any good places, music, books or things you've been enjoying?
My work and life are already quite intertwined, but outside of that I like to go somewhere I can pause for a while. When I'm busy, it's just a park nearby. When I have more time, I've been visiting national parks one by one for a few years now. A lot of them are really underrated, and the North York Moors is one of my favourites.
See Peter's latest collection for Autumn/Winter here.
