The garment serves as a metaphor for the memories it represents. "Bear in mind" is a tailored collection accentuated by the color red.
The collection is defined by clothing that is not worn on the body but are actually hung on the body, as if in fact the garment remains empty.
Trench Coats and Cashmere suits in the collection display complex patterns and a new interpretation to the definition of the garment both in essence and in function.
During the process of developing my collection, I discovered that the elements of the memories surrounding the designs were very powerful. This is why I chose to deal with garments that are carried on the body and not actually worn, allowing us to imagine feelings that transcend around us. The clothing projects a part of our perssonality and allowsfor emotional expression, to help us with issues that we bear in our minds.
I contrast ideas as often as I do materials to challenge the way they are perceived in everyday life. My designs are tailored and characterised by minimalist, clean lines and commonly explore such relevant concepts as gender relations and equality.
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The work examines the boundary between the delicate and the rough as embodied in two different approaches to the same pattern. One represents beauty; it is pure, innocent yet artificial, kitsch, almost banal. The other represents the harsh; it is like the cracking of a mountain – distorted yet grandiose and magnificent.
One does not exist without the other.
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Japanese artist, Yayoi Kusama, explores pedantically repetitive patterns in her work. Polkadots became her trademark. Her inspiration to the psychedelic colored circles is drawn from her psychotic, hallucinatory childhood experiences. Her psychotic thought process as a child brought her to repeating suicidal attempts. For 35 years she has been residing, of her own free will, in a mental institution. Equivalently, her artistic choices are as eccentric: Yayoi Kusama, through her obsessive work processes, brings the observer to consider the relation between Japanese tradition and the sterile psychiatric clinic.
Similarly, as Kusama’s naïve polkadots reveal to be terrifying, hallucinatory memories from her childhood, I, too, in my work, connect fear and naïveté, as manifested in my own childhood experiences. They are evident in the correspondence between the bowtie and the straitjacket, in the use of wide, circular shapes, reminiscent of Yayoi Kusama’s pedantic polkadots, in the heavy, padded quilts as a metaphor to the padding on the walls of the isolation room in a mental institution.
My collection is white, clinical; it encapsulates the fusing of conflicting themes.
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Armadillo bag, inspired by the armor-like shell of the armadillo. The bag is made of water-manipulated leather cutouts, that through precise mathematical calculations I was able to construct into the geometrical shape of the armadillo shell.
The structures of Japanese architect, Tadao Ando, provide the inspiration for this work. In his aesthetic, Ando juxtaposes Japanese tradition and Western modernism. He integrates concrete and light, and emphasizes nothingness and empty space to represent the beauty of simplicity.
Correspondingly, apertures in the jacket and the shirt signify something that exists yet doesn’t at the same time. In place of pockets, the collar, and other components there are only traces. They represent the elusive concept of beauty.
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