008/15 for HIFA 2013: The Black Coat.
ZERO8/15: BA-THESIS & FINAL COLLECTION 2011
ZERO8/15 has been developed on a thorough research and analysis of our current fashion industry. It provides a thought of rethinking, designing and merchandising fashion in an innovative and very contemporary way. ZERO8/15 seeks to slow down our current, fast-paced fashion system that actually makes up a paradox:
By permanently demonstrating its need for constant change our fashion system manifests its momentariness every single season a new.
This leads to overloaded wardrobes and consequently to an increasing number of textile waste. Our precious and formerly beloved clothing decays on landfills, floods developing countries and threatens their traditional textile production or is being downcyled to less precious products.
These impacts are unclear and depressing and won’t be acceptable in future for humans, animals and the environment to the same extent. Fashion eliminates itself, consuming it is undeniably related to a guilty conscience.
Do I want to support this being a future fashion designer?
What is my task in today’s fashion business if I want to work truly contemporary and react to the grievance in our predominant fashion business? How can fashion make its way back to its origin, which is simple, guilt-free and sensual indulgence?
ZERO8/15, an experimental mens- and womenswear collection that has been developed in SS11 at University of Applied Sciences and Arts, Hanover, Germany, is based on sustainable and zero-waste fashion principles and offers a wearable alternative to the prevailing Fast Fashion dictate.
ZERO8/15 offers an optimal solution to humans and environment concerning design, ethics and aesthetics equally.
It connects body, material and movement and combines pattern cutting and design to give unique impulses towards contemporary, holistic fashion design:
Graphic patterns, which are being developed from waste photographies, create garments that do not produce pre-consumer fabric waste, i.e. scraps during the cutting process.
All the material used is biodegradable or recyclable. Fabric, which is usually wasted within a garment, such as seam allowances and darts, is used in my collection as a visible, distinctive design element.
But most importantly, sustainable fashion and zero-waste fashion do not compete against design and pattern cutting. Rather, their combination allows the development of an innovative everyday-couture.
Photography: Gerhard Eckardt
A fresh, crisp breeze. Salt. Sun rays touching your skin. Sand below your feet. Soundtrack of the ocean. Nothing else but being with yourself in comfort and freedom.
SHELLtered is an industrial womenswear collection that has been developed during the class “Coat&Co“ at the University of Applied Sciences and Arts, Hanover, Germany, in 2010. Inspired by sea shells, this collection is based on experimental pattern cutting (e.g. eliminating side seams) as well as the exclusive choice of organic, re-growing materials such as cotton, linen and silk.
Photography: Milos Djuric and Shoreesh Fezoni
Bondi Jitterbugs 2009
The menswear collection “Bondi Jitterbugs”, tutored by Timo Rissanen, was launched during my study abroad at the University of Technology, Sydney, Australia, in 2009.
The class has aimed at creating a menswear collection by developing innovative textile designs to match a distinctive designer’s handwriting (here Salvatore Ferragamo). I found great support to create my collection in taking a closer look at the photographies of George Caddy, which are excellently capturing and documenting the lifestyle at Bondi Beach in the 1930s.
Bondi Jitterbugs celebrates the contemporary everyday life of a typical Sydneysider.It transfers Bondi Beaches’ airiness and atmosphere into wearable, high-quality menswear clothing.
Photography: Simone Austen
This experimental womenswear couture-collection has been developed during the class “Form Follows Material”, a leather-based project, at University of applied Sciences and Arts, Hanover, Germany, in 2008.
The material itself has inspired me: Every skin is different, has its own, distinctive appearance and should therefore be treated with thorough respect. Cutting out pattern pieces should not waste leather and leave scraps behind- the material is simply to precious!
This is why I left the skins as whole pieces and draped them onto a mannequin or respectively cut them into thread to re-knit or crochet new shapes out of it. Inspired by lace as a distinctive couture-ingredient, I also use cut-outs to create another lace-option whereby positive and negative shape are being used.
Out of one of a kind-pieces new unique couture pieces are being created.
Photography: University of Applied Sciences and Arts, Hanover