WUNDERKAMMER
THE GUIDE ENTERS THE WUNDERKAMMER AND STANDS IN THE CENTRE.
Welcome to the WUNDERKAMMER, a German term for a 'chamber of wonders', a varied and heterogeneous collection of objects in a room designed to create awe in visitors. It was a typical phenomenon of the 16th century, but its roots go back to the Middle Ages. It developed throughout the 17th century, nourished by Baroque grandeur, to arrive in the 18th century, favoured by the Enlightenment's typical love of scientific curiosities. In a way, the Wunderkammer can be seen as the first stage in the development of the museum concept.
In the Wunderkammer, not only are most of the jewellery and accessories objects displayed here, but the exhibition also ends with the last two artistic clusters.
THE GUIDE MOVES RIGHT INTO THE WUNDERKAMMER
SELFPORTRAIT
The pinnacle of Figuration is the Self-portrait, the most academic of artistic practices. The painter begins by copying external reality, but before any other form, they study that of their own face. This practice began to establish itself in the Middle Ages and then became central and very important in the Renaissance. Details and portraits characterise this section with minimalist, urban, ordinary, everyday clothes. It is the frame that delineates a community of men.
The variations of this ensemble, commonly recognised as jacket, shirt, and trousers, again highlight the ways in which men can appear different, even though the base remains the same.
Take Yasuto Kimura's outfit for instance.
2014 Yasuto Kimura Fashion
2014 Yasuto Kimura Fashion
TOKIO HARD WORK STYLE
Yasuto represents an alternative, Japanese version of the concept of tailoring. His collection is strongly rooted in Japanese culture and history, paying homage to his father and in general to all fathers of families who work hard to survive and take care of their families. There is an obvious reference to the office worker who commutes daily on the underground, and at the end of the day falls asleep from exhaustion. He covers his eyes with a mask, which has been commonly used in Asia since well before the pandemic. The whole thing is seasoned with a pinch of irony.
The shooting for the collection is a photographic project of the highest quality
Own unisex line Yasuto Kimura, launched in 2020 Tokyo hard work style Yasuto’s collection is strongly rooted in a Japanese cultural and historical background, directly referencing the style of the hard working businessmen’s outfit. The challenge was to develop it into something that could be considered in fashion, creating a strong look while at the same time communicating that this is a man who is doing his best to take care of his family and survive (not without a pinch of irony). This is menswear for those who have a sense of humour as well as for those who respect their hard working fathers.
2014 Yasuto Kimura
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2009 Mason Jung
Sartorial burden / Fardello sartoriale
Own made-to-order line Mason Jung Sartorial burden An antipathy towards formal wear for its fossilised forms and attributes of depriving individuality. From personal experiences of restricted life in school and the army in Korea where one would be forced to the same hair style and even the same life style. The collection is about questioning the general perception of clothing and showing how to identify individuality from stereotypes. Making transformable clothes that, at first glance, look classical. Using traditional materials for each garment, like white cotton for shirts and flat wool for suits, demonstrating the idea of creating new forms from classical ones, challenging construction rules to suggest diversion. So what apparently looks like a perfect suit transforms into a sleeping bag. Ha fatto l'abito per il marito di Chau Har Lee, finalista e vincitore di Accessories Collection of the Year di ITS Eight
2009 Mason Jung
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2014 Han Chul Lee
Savage grace / Grazia selvaggia
Own line Han Chul Lee Savage grace The character Hannibal in the movies “The Silence of the Lambs”, “Red Dragon” and “Hannibal”, especially when he shows his brutality while in an elegant and impeccable suit, are fundamental inspiration to the collection. Referencing Japanese Yakuza gangsters, who usually wear suits on the outside to blend in, while underneath are covered in tattoos. In important decision-making they uncover one arm, revealing the tattoos as if to manifest their violence. What Han Chul is trying to capture with this collection is this distorted beauty, mixed with savageness and elegance.
2014 Han Chul Lee
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2013 Ichiro Suzuki
Visualise to materialise / Visualizzare per materializzare
Own line Ichiro Suzuki Visualise to materialise English classicism, eccentricity from the Regency Era and optical artwork by Bridget Riley, Escher and Vasarely are persistent influences, transformed in a marriage between sartorial obsession and innovative design. Referencing a discovery of patchwork dating back to 1876 found in tailors’ studio which became the “muse” for the intricate patchworks featured in these outfits. Fashion is but stories, dreams and emotions that can be told without words and Ichiro must endeavor to create an alter ego. We choose clothes that talk about ourselves, that reveal our personality, who we are and who we want to be.
2013 Ichiro Suzuki
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2016 Shinhwan Kim
Shifting Movement / Spostamento
/ Shifting Movement Every outfit in this collection represents a snapshot, an instant photograph of a captured moment. The initial assumption is that capturing the moment, the actual instant, is incredibly difficult for the mind. The moment we look at something it is already changing, sometimes imperceptibly. Nevetheless, all is in movement and our mind’s sequence of thoughts during observations of daily life is imperceptibly modifying what it observes, in a repetition of shifts which can twist the reality of a single object, making it different, then similar and viceversa. Some of the outfits are an actual construction of movable panels intended to represent these shifts, these subtle changes in visual perception. An (impossible?) attempt to trap the unstoppable flow of time.
2016 Shinhwan Kim
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E qui invece vediamo Eleanor McDonald.
2018 Eleanor McDonald
2018 Eleanor Mcdonald Fashion
BALANCE AND PROPORTION
Eleanor won the ITS Collection of the Year award in 2018. A concept of tailoring transcends any gender reference: the garments are designed to be masculine but with the idea that they can actually be worn by anyone. There is a slight but deliberate imbalance in the shapes that originated from the initial idea: randomly throwing pieces of fabric on a mannequin to be surprised by the shapes, selecting the most interesting ones and making them part of a high-level sartorial study. Proportions and silhouettes recall the classic, with an intentional subtle vein of sensuality.
Own line ELEANOR MCDONALD Balance and proportion Inspired by documentary photography capturing garments thrown randomly on the body, to show how they would often hang and drape in an interesting manner. Eleanor McDonald reverse-engineered these distortions so each garment in her collection looks subtly off-balance. Everything was intentionally cut and fitted on men with the intent that it could be worn by anyone. This shifted the proportion and silhouette again, mirroring the starting point of her clothes, which can be considered traditional with an underlying sensuality. A sensuality which comes from the tactile nature of the design process and the importance placed on how each garment feels when it is worn.
2018 Eleanor Mcdonald
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THE GUIDE MOVES TO THE LEFT INTO THE WUNDERKAMMER
ACCESSORIES AND JEWELLERY
THE GUIDE STANDS IN FRONT OF HELEN KIRKUM SHOES
Before continuing with the clothes, let us talk about accessories and jewellery. In 2006 and 2011 respectively, ITS Contest opened its doors to creations in the fields of accessories and jewellery. These objects reveal the specific techniques of each discipline, pushing the envelope in terms of innovation and unleashing powerful creativity.
Essential and traditional materials lead to experimentation with natural resources such as wood, leather, metal and sometimes even resources from the plant world, for their poetic and inspirational character. Other materials of synthesis, invention and innovation complement this research,
becoming almost an expressive requirement. Helen Kirkum, for example with her trainer project.
2016 Helen Kirkum
2016 Helen Kirkum Shoes
OUR PUBLIC YOUTH
Helen belongs to an inner circle of designers who have managed to create a unique and recognisable style for themselves. Her trainer design is the result of a combination of research and craftsmanship. From used shoes and warehouse waste, she creates completely new trainers in which the process of creation, durability and obsolescence contrast with the hyper-commercial reality of our time. Her eponymous label has become particularly famous with top collaborations with cult brands, for which she created sold-out capsule collections. The dynamic is often the same: brands such as Reebok, Nike and Lacoste open their historical archives, and she reworks trainers using elements of different shoes, to tell the story of the brand's heritage. An interesting fun fact: the year before she was selected, while still a student, Helen visited our archive on a study trip organised by her university, the Royal College of Art in London.
Director at Helen Kirkum Studio LTD Our Public Youth Our Public Youth Confusion and Coming of age in an oversaturated paradigm, evokes reaction to an alternative system of circulation. Helen Kirkum’s footwear collection is a journey of research and craftsmanship. By sourcing and collecting old sneaker parts she has engaged in bringing them back to life through a time-consuming process which rebuilds an entirely new sneaker from scraps. Signifying the struggle to belong in a hyper-commercial reality, these shoes are evaluating process, ownership and obsolescence. Developed through generations of time (each scrap piece has its own age, story and origin), Helen’s work allows the wearer to re-engage with energies embedded in the material. Through her process she depicts triumph, defeat and rebirth. Ghosts of efforts that were once discarded are now remastered.
2016 Helen Kirkum
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Let us now look at the gloves of Thomasine Barnekow:
2007 Thomasine Barnekow
2007 Thomasine Barnekov
PRECIOUS SKIN
This project, which brilliantly combines jewellery and accessories, is a manifestation of unique craftsmanship and marks the beginning of a very important career in an industry that boasts few glove artisans at the level of Thomasine Barnekow. Today, Thomasine is the glove-maker of choice for the collections of Iris Van Herpen, Schiaparelli (worn by Beyoncé at the Grammy Awards), Balmain, Maison Courrèges (whose Art Director is our own Nicolas di Felice), Mugler, as well as collaborations with the Paris Opera, Netflix series such as Emily in Paris, and prestigious events such as the celebration of 200 years of Louis Vuitton luggage or Homo Faber in Venice, a biennial event celebrating world-class craftsmanship.
Peau Précieuse / Precious Skin This is an accessory collection of fine leather gloves combined with a sense of jewellery. Thomasine took a very simple yet brilliant idea, designing attachments and embossments made from different sized bracelets, from charms like a cross and a heart, from pearls or from a chain on the wrist of the glove, turning these elements into a second skin that in itself is an elegant jewel. Within the collection there were also loose leather bracelets in different shapes and colours to give the hand or the wrist possibilities for a subtle hints of vanity.
2007 Thomasine Barnekov
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Again on your left you see Justin Smith's masterpiece hat:
2007 Justin Smith
2007 Justin Smith
IL CIRCO MACABRO
Justin is, quite possibly, the most important contemporary milliner. An all-round obsession: Justin was born a hair stylist, a profession for which he has won top awards and which he has never abandoned. He has kept a space in his studio dedicated to the hair salon, for close friends and a few appointments on request.
Today, Justin frequently collaborates with the world of cinema, a connection that began when he made head pieces for Angelina Jolie in Maleficent. Shortly after he made a hat for Amal Clooney which she wore for her wedding. At London's famous Pinewood Studios - Hollywood's British detachment - a decade-long collaboration was established and where Justin developed the head pieces for Star Wars, tv series such as The Great and other films including The Man from UNCLE, By The Sea, Dolittle, and Cruella.
Le cirque macabre / The macabre circus Justin was inspired by the idea of the hat as a prop in the worlds of circus, variety, music hall, cabaret, burlesque, striptease, magic. The Master of Ceremonies’ hat, the clown’s slapstick comedy hat, the hat juggled with, the contortionist doffing the hat with her toes. The ostrich plumes of the fan dancer, the performing dog in a hat. Each hat in Justin’s collection was tailored to an individual burlesque or circus performer and designed to be used as part of a performance. The styling for the collection was based on a Victorian funeral and each decadent hat was laced with French jet and black ostrich plumes. A dance of the dead!
2007 Justin Smith
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THE GUIDE TURNS LEFT IN THE WUNDERKAMMER TOWARDS MAIKO TAKEDA
To conclude the section dedicated to accessories and jewellery, here we see Maiko Takeda's, almost a cloud, headpiece:
2014 Maiko Takeda
2014 Maiko Takeda Headpiece
ATMOSPHERIC REENTRY
A collection inspired by being underwater and the distorted visual perception in this whole new world not intended for humans. Senses that do not work in the same way as on land, without oxygen it is impossible to breathe and and without a mask impossible to see. To visit this quasi-magical realm we must be equipped with the right tools and clothes so we able to stay underwater for extended periods of time. An eyewear collection designed for an imaginary underwater tribe, living and wandering through the unknown underwater plains. It answers the question “If a mythical tribe existed, what would they wear and how would they view their world?”.
Atmospheric re-entry What would it feel like to wear a cloud? The head/body pieces explore the conditions and forms of the ethereal. A series of sculptural pieces that blur the boundaries of surrounding space for the wearer and seek to transcend the traditional expectations of headwear. The aesthetics of the collection is inspired by the futuristic mood of sound and imagery taken from Robert Wilson’s 1976 production of Philip Glass’ opera “Einstein on the Beach”. The pieces were a sensation when they were first released, captivating the attention of singer and songwriter Bjork who wore custom items during her world tours and on the cover of her “Vulnicura” album.
2014 Maiko Takeda
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2009 Una Burke
Re.Treat - Ri.Trattare
Founder/Designer at UNA BURKE LEATHER Re.treat This is a conceptual collection of art pieces, depicting a series of eight human gestures associated with the causes, the physical and psychological effects and the healing stages of human trauma. Sculptural forms are created around the shape of the contorted female body to describe several emotions, while a number of pieces are reminiscent of prosthetics and medical braces. This signifies the potential for healing within the boundaries of something which inhibits the body. Carcass-like in form, each piece is hand crafted from vegetable tanned leather, resulting in a colour that recalls human flesh. They have been produced to be viewed as contemplation artefacts, void of the human body and observed in the environment of an art gallery. When broken down into sections they can be combined with other garments and worn as structured fashion accessories. The interpretation of this work will always be subjective, depending on the outlook of the individual as a consequence of their own past traumatic experiences. I suoi abiti sono stati indossati da diverse celebrità tra cui Rihanna, Cindy Crawford, Jennifer Lawrence. Ha collaborato con Aitor Throup per i costumi del film Hunger Games.
2009 Una Burke
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2012 Margherita Abi-Hanna
Material of a girl / Materiale di una ragazza
Owner / Creative Director at Margherita Material of a girl Developing jewellery with value that transcends purely visual and decorative feature, by working on its emotional and symbolic realm. This collection is the culmination of a personal diary, accumulated through a process of exploring private memories which were incarnated into precious public objects, the jewels. It is a way for one woman - through personal experiences, vices, fears and feelings - to relate to other women and inspire them, with similar or new emotions.
2012 Margherita Abi-Hanna
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2019 Asumi Maeda
Reincarnation / Reincarnazione
Different priojects and exhibitions Reincarnation Living in Hokkaido, Japan’s largest island, known for its rich variety of ecosystems and vast reserves of untouched nature, where everyday the cycle of life and the endless regeneration set in motion by the seasons is witnessed. Nature and all living organisms wake up to new life in a symphony of energy and colours that carries them through spring and summer to wither in autumn and prepare for the cold winter months ahead. A jewellery collection portraying this richness by creating entirely new kinds of plants staging the seasonal transitions she experienced at home. Creating a romantic jungle, made up of materials that are not living but filled with such sentiment from Asumi Maeda’s creative process that inevitably they have a soul, bringing them to life.
2019 Asumi Maeda
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2019 Hazuki Katagai
The Breathing / Il respiro
The Breathing The collection was inspired by the concept of breathing in Eastern philosophy: not merely a physical activity but a way to recognise one's own existence, to be aware of life itself. Specific instructions for each jewellery piece trigger the imagination of who wears it. By visualising the concept of breathing and how it can empower the imagination, Hazuki wants people to face their own true self in an honest way, cherishing the connection with others and bringing about more awareness about of all life on the planet.
2019 Hazuki Katagai
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2011 Arnaud Zill
Tetracollection / Tetracollezione
Tetracollection Inspired by industrial packaging such as Tetra Pak and different kinds of sugar sticks. Using almost exclusively anodised aluminum tubes, the idea was to create light, playful and trendy jewels. The links between each jewellery component were developed to make twists aesthetically interesting, irregular and dynamic. With soft and minimal shapes, the collection describes a light and colourful world. These anodised aluminum jewels stand between geometry, tension and structured disorganisation.
2011 Arnaud Zill
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2016 Jana Zornik
Little Marta / Piccola Marta
Little Marta These artifacts are little mechanized grooming tools created by “little Marta”, the character envisioned by Jana for this collection. Through little inventions and alterations Marta seeks to turn the ordinary routine into extra-ordinary rituals, making it a safe place to feel beautiful, free, loved and cuddled. The project is all about re-considering the ordinary, inspired by materials themselves and backed up with man-made adjustments and a thorough research into beautifying tools. It speaks about freedom of imagination, of making the world on our own terms.
2016 Jana Zornik
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2018 Catalina Albertini
The hunt for a seductive still life / La caccia a una natura morta seducente
The hunt for a seductive still Life A collection of bodypieces inspired by a quote from journalist Michael Pollan’s article “Love and Lies” for National Geographic: “How do you spread your genes around when you’re stuck in one place? [...] The Orchid offers no nectar or pollen reward; rather, it seduces male bees with the promise of bee sex [...]. The Orchid accomplishes its sexual deception by mimicking the appearance, scent and even the tactile experience of a female”.
2018 Catalina Albertini
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2011 Dinu Bodiciu
Illusion of reality/Reality of illusion
Illusione della realtà / Realtà dell'illusione
Illusion of reality/ Reality of illusion Illusion of reality/ Reality of illusion According to French psychoanalyst Jacques Lacan each individual in their early childhood becomes aware of their body as a whole when they consciously observe their reflection in the mirror. A process referred to as the “mirror stage”. No one can perceive themselves as a whole (from head to toe), the only way we see ourselves is through our reflection in the mirror. But the mirror is unable to show (or our eyes are incapable of seeing) the three-dimensionality of our own self. In this sense our back becomes something unfamiliar, without significance for our consciousness. Dinu wants us to grasp that our self perception is distorted and that there is a thin boundary between illusion and reality: taking for granted that a true image of ourselves is but an illusion.
2011 Dinu Bodiciu
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2008 Irene Bussemaker
Protect/Proteggere
Protect Reflecting on the uncertain times the world was going through in 2008, with chaos and conflicts in many countries. This collection came in response to Irene’s own questions and doubts about that period. What is the right solution, attacking or embracing our enemy? We can communicate with the whole world through the internet but we can’t think of solutions for our differences. Protection and privacy were developing into the key elements of the day. Do we have to give up our privacy to feel safe? Her hats leave possibilities open: they can be worn narcissistically but it is also possible to hide behind them, wearing them like a mask. A choice: do we want people to see us or would we rather hide?
2008 Irene Bussemaker
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2010 Rob Goodwin
Congo Bacchanal / Baccanale del Congo
Congo Bacchanal Achieving the delicate balance of finely crafted, elegant footwear and headpieces with an underlying savage elements to designs. Drawing inspiration from two distinct cultures steeped in a rich history of mask making, merging the decadence and elegance of Venetian masked balls with the spiky, brutal beauty of the tribal masks and artefacts of the Congo Delta. Concocting an intricate story to serve as a literal reference for collection. During the depths of the Great Depression of the 1930s, a colony of British aristocrats and adventurers escaped bankrupt Britain to form the Happy Valley set, named after the area in Kenya that they had made home. Their days became a blur of gin, adultery, gambling, and cocaine. The financial “hangovers” of the 21st century seem to mirror the 1930 s . So what if somewhere deep in the Congo basin a masked Venetian Ball is in full swing?
2010 Rob Goodwin
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2018 Laura Olivella
Shadows of an interconnected journey/
Ombre di un viaggio interconnesso
Shadows of an interconnected journey “Life is not what one lived, but what one remembers and how one remembers it in order to recount it.” This quote by Gabriel García Márquez captures the necessity to bring personal experiences and beliefs into design, to create artefacts that express unique and unalterable stories. This collection drives its primary aesthetic inspiration from the Mochila, a woven shoulder bag of the Colombian indigenous Arhuacos tribe, a culture Laura Olivella has been surrounded by since a very young age. By referencing modern architecture - Norman Foster in particular - it provides a contemporary translation of the Arhuacos iconography, which symbolises the creation of life, their cultural identity and reflects the way they think
2018 Laura Olivella
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2010 Zara Gorman
Layers and contours II / Strati e contorni II
Layers and contours II Exploring structure, tension and draping applied to millinery. Developing a technique that reveals and hides the body. Through structure the shape changes. Millinery that creates an environment around the human form. Instilling research from photographs of parasitic trees in Sri Lanka, draping trees and mannequins.
2010 Zara Gorman
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2020 Rebecca Marsden
KN-ITS 2020
Rebecca designed her knitted footwear prototypes observing aerial performers’ and athletes’ need to recover in order to maximise their performance, the shift from intense moments of pressure to release were carefully incorporated into the design of her soles. She drew inspiration from the raw energy of the sea and from the aerial body in motion. Her total commitment to responsible design for a positive impact in production lead to using circular and seamless knitting technology. By knitting twin skin socks in one piece with a zero-waste approach, the inner and outer sock are bound together in a seamlessly flowing piece.
2020 Rebecca Marsden
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2014 Takafumi Arai
About my mother / Su mia madre
About my mother Takafumi looked to his mother for this footwear collection. He was inspired by how she mends family clothes without using a sewing machine. She isn’t that good at making repairs, but through her distorted sewing technique Takafumi feels her love and dedication for their family. In the same way that her mother puts her unconditional love in mending the family’s or anyone else’s clothes, his shoes are filled with his own heart and love, providing that feeling of craftsmanship and passion that only bespoke handmade pieces can give.
2014 Takafumi Arai
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2015 Hiroki Kataoka
Yearning for the Ocean / Desiderare l'Oceano
Yearning for the Ocean Reminiscing of childhood family trips to the seaside. Hiroki was suffered from a type of eczema that stopped him from going into the ocean.
2015 Hiroki Kataoka
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It was the first time he felt different from others.
The ocean became symbolic of a place where you yearn to go to, but cannot.
These surreal footwear pieces assume a mix of autobiographical reference and are a tribute to similar people, trapped in a mysterious world that hinders them from doing what they love.quick facts:
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2011 Paul Stafford
Shrouds / Veli
Shrouds Exploring structure, tension and draping applied to millinery. Developing a technique that reveals and hides the body. Through structure the shape changes. Millinery that creates an environment around the human form. Instilling research from photographs of parasitic trees in Sri Lanka, draping trees and mannequins.
2011 Paul Stafford
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2018 Jil Jander
Underwater distortion / Distorsione subaquea
Underwater Distortion A collection inspired by being underwater and the distorted visual perception in this whole new world not intended for humans. Senses that do not work in the same way as on land, without oxygen it is impossible to breathe and and without a mask impossible to see. To visit this quasi-magical realm we must be equipped with the right tools and clothes so we able to stay underwater for extended periods of time. An eyewear collection designed for an imaginary underwater tribe, living and wandering through the unknown underwater plains. It answers the question “If a mythical tribe existed, what would they wear and how would they view their world?”.
2018 Jil Jander
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2018 Yeonghyeon Kim
Dynamic / Dinamica
Own brand Sixteenroom Dynamic Research focused on the decorative quality of bags with the intention to present them as an expressive medium for art. Looking at art from an architectural point of view as both architecture and bags struggle with the use and allocation of space. Drawing specifically on the dynamic distinctiveness of Santiago Calatrava and Frank O. Gehry. The formative dynamics expressed in Gehry’s atypical formation are achieved through shape distortion, overlap and asymmetry while Calatrava’s iconic style is capturedwith the use of symmetry and repeated motifs.
2018 Yeonghyeon Kim
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2010 Sarah Williams Tomkins
Crafted fashion / Moda artigianale
Managing Director at Williams Handmade Crafted fashion Grieving the loss of craftsmanship in the fashion industry. Globalisation being perhaps a key culprit. While believing that this lead to a world market for products and spread of multiculturalism and cultural diversity the risk becoming a western monoculture looms. Traditional skills and techniques are no longer being valued as they once were and are not being passed on to future generations. In a battle to preserve the tradition of craftsmanship, each item represents a statement against standardisation and mass production. A display of meticulous artistry playing tribute to the human hand, everything is produced by hand including stitching. Returning traditional techniques to center stage and boosting appreciation for craftsmanship to secure their existence.
2010 Sarah Williams Tomkins
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2019 Skye Gwillim
In this position: seated persons
In questa posizione: persone sedute
Graduate Accessories Designer Burberry In this position: seated persons Dedicating hours to the observation of how people sit in the metro, on buses, on benches in the park, paying particular attention to how bags are positioned on laps. This evolved into a study of ways of “sitting and waiting” and of “carrying and concealing”. Skye Gwillim then came up with modrock casts and CNC routed plywood legs in the positions she chose to develop for her collection, and configured the shapes of her bags around them. The end result is a personal interpretation of how a bag interacts with our body when we sit. Skye ha fatto le borse che erano incorporate nella collezione fashion di Moon Hussain ITS 2019
2010 Sarah Williams Tomkins
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2013 Takahiro Ueno
It's better to burn out than to fade away
E' meglio bruciare in fretta che spegnersi lentamente
Pattern Maker and Assistance Designer at Comme Des Garcons Co. It's better to burn out than to fade away Working on a personal assumption that many people, especially in Japan, were just looking for cool, sexy and cute outfits forgetting about what in Takahiro’s opinion is real beauty, an aesthetic concept not to be taken for granted. Combining 15th century menswear, second-hand grunge t-shirts and Japanese traditional book binding, his garments reflect his personal sense of beauty, so that whoever sees his work has the opportunity to re-think about how important this simple yet fundamental concept is.
2013 Takahiro Ueno A
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2011 Shilpa Chavan
Fleurs du mal / I Fiori del Male
Art residency at Cité internationale des arts Paris Fleurs du mal / The Flowers of Evil It has been said that for every fresh reading of Charles Baudelaire’s “The Flowers of Evil” poems yeld new meaning. The groundbreaking 19th century French visionaire and poet was Shilpa’s inspiration for this collection: designs conceived with the intention to provide the observer with new insights at each new observation, striving to carry the poems’ feelings of erotic melancholy, morbid bloom and sensuality into the physical realm through her choice of shapes and materials. An exploration of the dark side of life, looking at moral degradation, decay, decadence and refined sensuality. Ha collaborato con la cantante Lady Gaga
2011 Shilpa Chavan
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2016 Masaki Shimizu
Eggs paradise / Il paradiso delle uova
/ Egg paradise ‘I love the egg’. Contemplating eggs, the beauty and functionality of their shape, and how they recall the beginning of the world. This led to the challenge of using actual egg shells to produce jewelry pieces, turning them into tiny pieces of handcrafted art. Inside each shell there is a personal interpretation of Utopia, entwining elements from baroque architecture, Gustav Klimt and Kintsugi, the Japanese art of repairing broken pottery using lacquer, dusted or mixed with powdered gold, silver or platinum treating cracks as part of the history of an object.
2016 Masaki Shimizu
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- Figurazioni Libere
LA GUIDA SI POSIZONA DAVANTI AL CAPO DI KIN YAN LAM e INTRODUCE IL PROSSIMO CLUSTER
Compared to abstract art, FREE FIGURATION allows us to reproduce forms that are recognisable and clear to the eye. It is the oldest artistic movement: the one that seeks to reproduce reality based on the individual freedom of the eye, to see the shapes of creation and share them with other human beings. Clothing in this cluster represents an indispensable instrument of ecological condemnation (denunciation) and becomes an interface with oneself and the other, as if to trigger a dialogue that is apparently exuberant and extroverted but at the same time wants to reveal more intimate thoughts. To summarise in a few words, what lies within the lining supports this concept. The first example is the outfit by Aitor Goicochea Aburuza, whose concept is 'Dining with my father'.
2021 Aitor Goicoechea Aburuza
2021 Aitor Goicoechea Aburuza
DINING WITH MY FATHER
Finalista spagnolo, dedica tutta la sua collezione al padre rivivendo il poco tempo trascorso insieme, 4 appuntamenti al mese in cui cenavano insieme. Il pasto diventa quindi momento celebrato in cui ogni oggetto, ogni riferimento al sedersi a tavola, è motivo di ricordo, insieme agli scatti fotografici fatti durante questi incontri Quello che può sembrare un mantello, se il manichino potesse allargare le braccia, è in realtà un richiamo ad una vera e propria tovaglia, che è al tempo stesso racconto, densamente stampata com’è dei momenti conviviali e delle fotografie di questi incontri.
Own line Aitor Goikoetxea Aitarekin Afaltzen / Dining with my father Aitor's collection is a reflection and a celebration of the relationship with his father and how it shaped him as a person. His father died eight years prior and it was at that moment that he realised he did not know him. During the same period, he looked into himself to discover aspects of his own personality that came from his dad. He used to spend just four days a month with him, and have a meal together. While eating, sitting together at the table it was essential to connect. Dinners that would be full of nostalgia as they would always talk about the past, about things that had already happened, or about the future, of what was yet to come. The tablecloths and everything revolving around them - plates, food, napkins, objects, pictures of those gatherings - all became tools and building blocks for a wearable menswear collection charged with memories and romanticism.
2021 Aitor Goicoechea Aburuza
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Immediately behind Aitor Goicoechea, you can find the inflatable dress by Syna Chen and her concept:
2020 Syna Chen
2020 Syna Chen Fashion
OPERATION EUROPA
We are in this case in the realm of the fantastic fairy tale, à la Tim Burton. How would alien heads of state dress if humans and extraterrestrials were to meet on an official visit? This is the totally surreal premise of an inflatable collection - the dress actually inflates thanks to the inclusion of a small motor - and full of irony, winks at the cinema. The garment specifically is part of her collection, but is actually a variation created for a special project carried out with Promoturismo FVG, the Friuli Venezia Giulia region's tourism promotion agency, to rework a 15th-century Venetian dress, from which this garment is inspired.
/ Operation Europa What would alien leaders wear if humans and extraterrestrials were to meet in an official visit? Syna developed - not without a pinch of irony - a fashion collection for aliens, by creating inflatable clothing for a future political utopia. The collection takes place on Europa, bringing together inflatable technology and an imaginary vision of alien and human cultures. A tribute to Syna’s interests in breaking the boundaries and challenging the possibilities between traditional fashion design and other fields.
2020 Syna Chen
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2021 Tianan Ding
Revalue / Rivalutare
Own line Ala Tianan Revalue Tianan’s collection is a playful and critical experiment on clothes’ fabrication, cost, and function. Garments were mainly developed from disposable material - kitchen paper towels, toilet paper, expired plasters. Water was also a key element in the design process: by experimenting with dissolving and fading away, the outfits are a metaphor of the poetic deconstruction of structure and function. They embody the intention to dissolve value, to make nothing into something, or take nothing and make something out of it. This is not “elite- exclusive” fashion made from expensive fabrics. Classes merge along with cultures and tastes and Tianan reflects the current streetwear status as luxury, to represent this union of streetwear and luxury which is, at the same time, a new division. The goal is to develop affordable coolness, advocating the authentic wearer of streetwear, who can’t afford designer clothes. An interpretation of streetwear’s rawness, timelessness, and its honesty with respect to what is happening in the world.
2021 Tianan Ding
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2010 Courtney Mc Williams
Yard days aren't over (long live buttoned shirts+whiskey)
I giorni del cortile non sono finiti (viva le camicie abbottonate e il whiskey)
Independent designer, artist and creative director in music Yard days aren't over (long live buttoned shirts + whiskey) An insight into Courtney’s life, loves and frustrations, the inspiration for her collection is the idea that boys on the streets have stolen iconic pieces from the upper/middle classes such as the Barbour, spat all over them and sold them back to them at a higher price. Prints are based on chavs, Stella Artois and dog figthing, all synonymous with British street culture. The message that ultimately transcends from the outfits is that Courtney can design for all areas of fashion, from high street to luxury, putting her stamp on everything she does.
2010 Courtney Mcwilliams
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