TRIIN
TINT
PORTFOLIO
Estonian Academy of Arts Fashion Design department Tallinn 2018
CONTENTS MANAMINE
9
TIME / LESS
25
OUTERWEAR
35
CLOTHES & CHOREOGRAPHY
47
FACE VALUE
53
ILLUSTRATIONS
79
CV
89
Throughout my Bachelor studies, I have explored how garments are more than physical protection of the body. Discovering collections during ethnography practice in Heimtali Museum, clothes had, in addition to their colourful and decorative appearance, more deeper meaning – ornaments, symbols and colours were thought to provide mental protection, bring good luck and keep away the evil. This seemingly invisible conceptuality has fascinated me ever since and with every individual project, I have aimed to discover a new angle in the essence of clothes. They have become simultaneously my medium and subject of further research. However, the wearer gives clothes’ their true character and
therefore I’ve become more and more interested
in the relationship between garments, wearer and time. Historically clothes have been valuable and precious artefacts, not taken for granted and inherited over generations, which gave them further narrative and deeper emotional value. Today, fast fashion and overconsumption have changed our relationship towards clothes tremendously and on my BA thesis, I concentrated on how we have lost connection with our wardrobes and how clothes have become packages instead. Nevertheless, is it possible today to make clothes, which aren’t just something ‘random’ and taken for granted? And how to make them sustainably? are two main questions, which keep me curious and give plenty of material for upcoming work. And only time can tell, if less clothes with more layers of meaning is the new way to approach sustainability.
Triin Tint
MANAMINE Supervisors: Piret Puppart, Agne Talu-Vürmer, Margarita Teeääre Autumn 2015 / Spring 2016
The collection “Manamine” (“Invocation”) was inspired by
the
evil
eye
myths
in
Estonian
folklore.
Newborn babies often wore hats with colourful eye-like ornaments on top of their head, which had to keep away the evil. Similarly, it was believed that safety to
pins
their
could
specific
have shape
the and
same
effect
metallic
due
colour.
All the garments have either defensive spell, protective symbols or herringbone pattern embroidered with safety pins, which gives to the wearer both physical and mental protection. In addition, the less belongings one had, the more unlikely it was to be caught by an evil eye, therefore all the shapes of the collection are truly minimal, inspired by the shape of safety pin.
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9 1
2 3
6 4 5
Baby hats had often eye-like ornaments on top of their head, because it was believed that they can reect the evil eye. Similar power was dedicated to safety pin as well.
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Lõuna-Eestist pärit loits, millega ravida ja eemal hoida kurja silma. Väga vähe on ravimaagia loitse säilinud, kuna need on kandunud edasi ainult suust suhu. Rõivastele sai see tikitud haaknõeltega. Spell from Southern Estonia, which was used to cure the
The spell against the evil eye is from Southern Estonia and it was embroidered on clothes with safety pins. Not many spells are found, because throughout the years and centuries, they’ve been carried on only by oral tradition.
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8
9
9
Photographer Cärol Ott Model Maria Special thanks Marleen Afanasjev
photograph Cloe Jancis
TIME / LESS Supervisors: Peter Løchstøer, Ida Falck Øien Special thanks: Admir Batlak, Siv Støldal, Anne Karine Thorbjørnsen Autumn 2016
Kirjeldus
eesti The most common keeles definition for the word ‘timeless’ is
‘not affected by the passage of time or changes in fashion’. Whereas, dividing the word to ‘time’ and ‘less’ it has a completely new and opposite meaning. Home clothes are on the one hand not affected by trends, however due to quick life tempo, we do not have
so
much
time
to
spend
in
them.
The initial inspiration for the collection were handwritten letters, which in many ways are the symbols of hedonistic past, when people had more time to spend at home. Ink as a medium can represent both slow movement and rapid speed, which is more common
for
today.
The final result was an experimental homewear collection, where everyday rush got mixed with comfort and
extravagance
from
25
the
past.
‘In case of fire, what would be the first thing you’d rescue from your home?’
Answer by Ramona
OUTERWEAR Supervisors: Marve Kreek, Aili Aamisepp, Agne Talu-Vürmer, Anu Ojavee Autumn 2017
Kirjeldus
eesti The
outerwear
keeles collection
was
inspired
by
Fyodor Dostoyevsky’s quote “Man is a mystery”, which has been translated as “Man is a secret” in Estonian. Therefore, if man is a secret, how is it kept? The collection was inspired by doors, locks and rust as well as different shapes and textures inside the human body. Man as a subject has given a lot of food for thought to most philosophers, but fortunately never an unambiguous answer and remained in its core a mystery. The
whole
together
process conceptual
was and
35
an
attempt industrial
to
join
design.
*
*Secret in English
10
12
11
13
14
15
16
17
18
model Kristiina
COAT “TABA”
Main fabric – 100% WO Under ‘lapels’ – 97% WO, 3% EA Lining: 100% VI with rust print Custom-made buttons Anni Voll
by
Printing in process
Dostoyevsky’s quote in Estonian as a label
CLOTHES & CHOREOGRAPHY Main supervisor: Chistina Lindgren Choreography: Roza Moshtaghi Dancer: Even Eileraas Autumn 2016 Clothes & choreography project was part of a workshop, which took place in Oslo National Academy of the Arts during the exchange semester. It
was
exploring and challenging the borders of
dance, costumes and choreography and as a result, short experimental performances were made in small groups, which combined all three dierent elements together and showed the dynamics between them.
47
Oversized dress had sewn-in tubes, which were ďŹ lled with red food colour and turmeric. On normal and dry circumstances, the colours were relatively invisible in tubes, but during the performance and in contact with water, they became visible.
Photographer Espen Tollefsen
FACE VALUE Supervisors: Piret Puppart, Margarita Teeääre Autumn 2017 – Spring 2018
E
It is a known fact that fashion E values surface and sales over depth and it has led to a point where more and more the words ‘don’t care’ are used when talking about clothes. Furthermore, growing speed of the fashion cycle and constant sales fuel overconsumption and therefore clothes are taken for granted and the only value they have, is monetary ‘face’ value. It seems as they have become random packages, where the facade is the only thing that matters and their life expectancy is close to non-existent. The main inspiration for the collection ‘Face value’ is luxury brand paper bags, which are kept for their own sake and taken care of after the purchase. In addition to the bag itself, the forms are inspired by wrappings of silk tissue
paper,
small
dust
bags
and
grosgrain
ribbons, which are common elements of luxury packaging. Moreover, they’re mixed and juxtaposed with details typical to fashion industry and merchandising, like price tags, security elements and plastic needles, which are often forgotten on clothes as well. However, the old craft and haute couture, which tends to be the beautiful facade of the industry, is in terms of the process, extremely time consuming. Therefore all the oversized overlocks are hand made as well as all the embroideries on brand bag replicas (instead of silkscreen printing or machine embroidery). The
collection
creates
an
honest
and
ironic reflection of the fashion industry today.
53
19
20
During the survey in Estonian Academy of Arts’ Fashion design department, the most common package, which was kept for its own sake, was luxury fashion brand paper bag. This became a starting point of further work.
21
22
23
Design development trough creasing and scanning tissue paper and re-drawing the shapes they created.
Throw silhouettes
24
Dust bag is always associated with luxury brands, despite the fact that inside it, the seams might not reach the highest standards. Overlock can be a synonym for fast fashion industry, because it’s quick, easy and cheap method for making clean seam allowances. instead of bias binding them.
Cardboard and silk tissue paper interpretations – Scotch-taped cotton canvas and memory fabric
Plastic needles, which are typically holding the price tags, got an upgrade and golden coating– therefore, an invisible needle became oversized strap for slip dress.
Security tags are one of the most common items which associate with high street brands rather than luxury fashion houses. They’re often forgotten on clothes and removing them without proper tools can make the ink inside the tags explode and ruin the garment entirely.
Jewellery designer Anni Voll made brooches and heels, which look exactly like security tags, to turn them into accessories and therefore give them more value.
Photographer Gregor JĂźrna Make Up Keterin Vendt Model Muriel Jewellery Anni Voll
ILLUSTRATSIONS
79
Sketches 29,7 x 42 cm 2015
Works from series “Not Only Pretty Girls” 70 x 50 cm 2017
“Virve” 70 x 50 cm 2018
“Dialogue” 70 x 50 cm 2018
CV TRIIN TINT 06.09.1995 Tallinn, Estonia triin.tint@artun.ee EDUCATION 2016
Oslo National Academy of the Arts (KHiO), Fashion and Costume design
2014 –
Estonian Academy of Arts, Fashion Design BA
2002 – 2014
Kohila High School, graduated with honours WORK EXPERIENCE
2018
Dance performance “Kooslused”, Costume Designer (Choreography by Aneta Varts)
2017
Dance performance “06 04 17”, Costume Designer (Choreography by Roza Moshtaghi)
06 – 08/ 2016
Internship at Yaly Couture and OCHE Boutique (Hoi An, Vietnam), Assistant Designer
02 – 05/2016
Ivo Nikkolo (AS Baltika Group), Designer Assistant
2016 –
Illustrations Studio, Co-founder and illustrator PARTICIPATION IN FASHION SHOWS
2018
ERKI (Estonian Academy of Arts) fashion show/ competition – BA graduate collection “Face value”
2016
ERKI fashion show – individual collection “Manamine”” 2015 ERKI fashion show – individual collection “The
2015
Quiet Ones” and groupwork “M-M-M”
SKILLS AND COMPETENCES Languages Estonian – native English – fluent Russian – intermediate level Spanish, German, French, Norwegian (Bokmål) – beginner level Computer skills Upper intermediate – Adobe Photoshop, Adobe Illustrator, Kaledo Style, Kaledo Print, Microsoft Office programs Intermediate – Adobe InDesign, Adobe Lightroom Good working knowledge – Corel Design
89
PHOTO CREDITS MANAMINE 1 – https://bit.ly/2LEZOlU 2 – “Setu kosjad.Pulm.” Videofilmi lavastus.Noorpaar elutoas., STM F 870/2, Seto Talumuuseum 3 – Setumaa, Obinitsa. Ema lapsega 1922, ERM Fk 350:220, Eesti Rahva Muuseum 4 – Haaknõel, SM _ 10006:5 E, Saaremaa Muuseum SA 5– https://bit.ly/2JwlobN 6 – Titemüts, ERM HM E 285, Eesti Rahva Muuseum 7 – “Kaal” (Eva Jantsi pärand), Rõngu, Pikasilla, ERM Fk 451:1, Eesti Rahva Muuseum 8, 9 – M. Kaarma, A. Voolmaa, Eesti rahvarõivad. Tallinn: Eesti Raamat, 1981, pg 179, 185 OUTERWEAR 10 – G. Richter, Gustave Flaubert sieht seine Geliebte. Phtograph, gelatin silver print, 1966 11 – https://bit.ly/2sBVayb 12 – https://shutr.bz/2xUnbpQ 13, 16, 17 – J.-M. Le Minor, H. Sick, Jean Marc Bourgery. Atlas of Human Anatomy and Surgery. Taschen Bibliotheca Universalis, 2015, pg 154, 240, 241 14 – S. Mankus, Hands 2. Photograph, 2014 15 – W. Beshty, Directors 3. Polished copper table top and powder-coated steel, 2014 18 – https://bit.ly/2kYdi0N FACE VALUE 19 – R. Vogel, MI Touring Nike Factories. Photograph, 2000 20 – M. Ross, Vetements Saks Fifth Ave window display. Photograph, 2017 21 – https://bit.ly/2xZjK10 22 – https://bit.ly/2l2RsJv 23 – https://bit.ly/2JIe5kG 24 – A. Powell, Hipgnosis Portraits. London: Thames & Hudson Ldt, 2014