Fashion New Order

INTERVIEWING MICHÈLE LAMY: The cult sensation gives her insights to the generations to come

FINDING BEAUTY AND POWER IN THE STRUGGLE: The best promising designers of 2020

C ELEBRATORY ISSUE

Creative Direction and Editing L'ÉDITEUR Graphic Design Journalists PEDRO

X

FRANK AUGUST

MILANEZI AND JOE BROMLEY

WWW.FASHIONNEWORDER.COM

@fashionnewordermag fashionneworder

Photographer: Raka Pradana Virzi Model: Rifka Dennisa Assistants: Elnidiya Mutiara Thenu and Abdurrahman Rifqi

Photographer: Shahzad Bhiwandiwala MUA: Fehia Tangitau Model: Leilani Hausia Tangitau

Creative Director and model: Zinaida Kazimirova MUA: Alina Kupchak Photographer: Julia Archevskih

Photographer: Kamila Stepien Female Model: Amidzic Sladana

Photographer: Kamila Stepien Female Model: Amidzic Sladana

CLASS 2020 OF Kana Takahashi, Mie Mie Yin, Julian Cerro, Wei Yu, Christopher Edward de la Cruz, Vitor Kenzo Shibata, Weiran, Andrea Grossi, Angus Kramer, Jessan Macatangay, Aline Verest, Annie Purdface, Yeongho Ko, Ania Yelizar

Kana Takahashi

Mie Mie Yin

Julian Cerro

Wei Yu

Christopher Edwardn de la Cruz

Vitor Kenzo Shibata

Weiran

Andrea Grossi

Angus Kramer

Ania Yelizar

Jessan Macatangay

Aline Verest

Annie Purdface

Yeongho Ko

KANA TAKAHASHI

@JUST_LIKE_ASPARAGUS

wearables are undergoing

by pedro milanezi

some sort of mutation.

Static movement. That’s

At the same time, her

the first thing one notices

cuts systematically follow

about designer Kana Taka-

the same shape, and the ele-

hashi’s imagetic language.

ment of its repetition makes

It’s an ethereal experi-

it feel purposeful.

ence to dive into it a wee bit deeper.

Static motion is a ‘language’

With affective inspira-

mostly spoken in photogra-

tions such as the feeling

phy, image treatment and

of missing one’s pet when

graphic arts, that makes

one’s away, Takahashi cre-

a still image embody ele-

ates sensations; or sensori-

ments that our eyes will mis-

al experiences, if you like.

read as movement. It’s not but a brilliant way to arouse

A textile put together with

our senses.

hair, boning and knitted cashmere invites us to the tac-

By somehow suppressing the evidences of stillness

tile delight of reminiscing a pet’s fur. The phenomenal

in an image -or garment- and affirming illusional identifi-

pattern cutting and constructions outdraw sinuous lines

ers of fluidity, we are synesthetically brought to “feel”

that immediately make us think about movement. Not

movement. Movement that isn’t happening.

just movement, but a certain euphoria, even, potently evoking the very mood of a playful dog running around.

Using techniques that make the constructions and silhouettes always seem “in development”, it feels as if the

Ludic and fresh!

Central Saint Martins

Designer: Kana Takahashi

Designer: Mie Mie Yin

Photographer: undisclosed

Text: Pedro Milanezi

Central Saint Martins

A rough and sudden act of fashion. A political mutiny.

Designer Yie Yie Qiang Yin’s collection ‘untitled is

an

white

artistic

project’

fulmination

against the downtrodden art education in China, stillborn conceptions of beauty and uncompromising aesthetic values, as well as an engaging meditation on the ephemeral fluidity of life and the inconsistency of post-modernity.

As Yin operates complex patterns to erect an architectural white look, already phenomenal on its own, he shows great understanding of topological mechanisms. Clean, sinuous volumes outline a body that no longer abides to standardized proportions.

However, Yin’s raison d’être rests far beyond intelligent concrete garment construction. Using dry-ice to arouse smoke around his looks, organic and free-form shapes enkindle an impermanent, aporetic semblance, heightening an organic connection between costume and environment.

In 1972, canadian theatre critic and playwright Gary Botting wrote “Happenings abandoned the matrix of story and plot for the equally complex matrix of incident and event”.

And a happening it is! By blurring out the distinguishable silhouette of the body, Yin denounces against the archetypal visual segmentation in scholarly proportion methodologies, that oppressively make art and fashion decipherable, and thus, assessable; seizing to unhitch from limiting aesthetic academism in fashion and art.

Yie Yie Qiang Yin’s ‘untitled white project’ may be a fugacious and unfathomable art happening, but the thrust of it’s happening act is alive and kicking!

MIE MIE YIN

@SHSHSHEEP

Designer: Wei Yu Photographer: 肖贺 / He Shiao Royal College of Art

WEI YU

by pedro milanezi

@IWIV_OFFICIAL

It’s nearly dispensable to even mention the many ways fashion has deliberately ideologized, fabricated

In a historical point in time in which so many concealed

and solemnized the sordid obsession with an unearthly

structural biases have timidly arisen to the surface – and

slenderness, which not only rewarded the devaluing of

to discussion –, it’s almost axiomatic that young, effer-

fat people, but also heartened a delusional and dysmor-

vescent designers advocate for equality to identitary

phic pursuit for a body figure as good as unattainable

minorities, representing diversity and freethinkers.

(so much for health concerns, huh?).

Chinese designer Wei Yu is a brilliantly creative and sensitive objector of one of the most unacknowledged, unaccounted for and deeply rooted forms of systematic oppression: FATPHOBIA. In one of the most veiled and widespread configurations of biopolitics, the bodies of fat people have relentlessly been scrutinized in the social, aesthetic and medical spheres since the early XIXth century. Perpetrating stigmatized, unfounded, systemic beliefs, fatphobia is designed to marginalize, shame and oppress fat bodies under the immediate assumption that they’re unhealthy and in need of intervention, and therefore a burden to taxpayers and the health care system, which corroborates a perpetual sense of both collective and individual responsibility to take on a combative role in the “War on obesity”; sometimes through condescendingly imposing exercise and dieting, sometimes through violently coercing fat people to undergo medical surgery and scarification. The social – and medical – obstination with weight loss as the solution to health concerns that may be utterly unrelated to a person’s weight or size inimically violates fat people’s right to existence.

All things considered, there couldn’t be a more relevant outcry for Wei Yu to have based her mesmerizing, theatrical collection “Potential possibilities of our figure” on.

Exploring the moulding of complex inflatable wearables in bubbly, lighthearted tones, she kindly suggests that our body figures are to be articulated freely, catering only to our individual desires, and that we emancipate ourselves from biased mindsets into a clear appreciation of the beauty in diversity.

Tight bodysuits with skeleton prints, matched under her sculptural volumes, semantically provoke the faulty conception that weight loss proportionally promotes health increase and vice-versa.

Light installations inside the inflatables educe a feeling of vitality and cheerfulness, ebbing away the sense of mutuality between being fat and being morose, lazy, unmotivated and having poor willpower. All in all, Wei Yu thrives in sketching a beautiful – and urgent – reflection: we NEED to unlearn our biases.

WEIGHT AND BODY POSITIVITY NOW!

Designer: Wei Yu Photographer: 肖贺 / He Shiao Royal College of Art

JULIAN CERRO

@JULIANARCHANGEL

and flattering components.

by pedro milanezi

Shades of white and hand“The world is never going

craft techniques such as

to end, and humans are

knitting evoke a nostalgic,

going to be constricted

celestial mood. Although

into change and mutate

she

into something else”. It was

the human body, her tech-

around those strong words

niques in ruffling grant a

that Polimoda student Ju-

rather familiar pleasance.

violently

disfigures

lian Cerro assembled her

Body modification has

poetic collection “Surroga-

had it’s several advents

cy: only powdered milk”.

throughout history, from

Loitering her journey

being a perverse form of

of obsessions, Cerro por-

entertainment with the dis-

trays a prognostic account

playing of circus-freaks, or

of how human bodies are

a marginalized rebellious

getting affected by climate

practice with piercings and

change, leading society as

tattoos, to being just a part

a whole to encompass a

of everyday life with plastic

different shape.

and cosmetic surgery.

As we ascertain how

However, what young

we have, in so many ways,

designer Julian Cerro sug-

been ravaging nature, we begin to use technology as a

gests is we will organically transmogrify not only physi-

tool to reconcile with it. Moreover, we begin to be en-

cally by adapting to climate change, but also spiritually

gulfed by it. Whether as a means of survival, whether as

by democratizing our freakness within and so giving

a mere appeasement with nature, the transmutation in

birth to a natural, yet artificial reality.

Cerro’s scenario is beguiling.

As she balances wildly distorted shapes with constraining ones, thick leather and gabardine with delicate printed lace, silk and hand-dyed feathers, she furnishes an avant-garde collection filled with playful, colorful

Freak yourself out!

Designer Julian Cerro Photography Gabriele Rosati Polimoda

CHRISTOPHER EDWARD DE LA CRUZ

@CED_DELACRUZ

imaginaire, that seems to des-

by pedro milanezi

perately try to break out from dual The nonbinary, or gender-un-

gender boundaries and restrictions.

conforming is probably the

As female-assigned elements of color

most contemporary propensity for

and ornamentation express a flattering tradi-

gender identities, as it doesn’t compel

tional femininity, sportive elements and practi-

individuals to settle for the reductive disam-

cal cuts tend to de-simplify that very same feel, poet-

biguation of the traditional gender dichoto-

ically diluting traditional binary gender-conformed

my, but allows people to have a free-fluctu-

notions of existence. Flattery is simultaneously af-

ating gender identity.

firmed and denied as shapes and volumes of the

In 1994, when activist Kate Bornstein wrote “All the categories of transgender

human body are reallocated freely. It creates a disturbing silhouette as bulky volumes assume

find a common ground in that they each

form under tight Jersey wearables, this material

break one or more of the rules of gen-

that is everything but traditionally feminine.

der: What we have in common is that we are gender outlaws, every one of us.”,

Moreover, delicate embroidery outlines the already-existing volumes of a body that seems to

she wisely breaks apart from the con-

have a will and take forms of its own; all by aggressive

ception that there need to be rules.

military boots that sideways reveals the graciousness

Specially for original human cre-

of needle-heels.

ation.

A leap into designer Christopher Edward de la Cruz’ work definitely does justice to that outcry. Jersey-made looks embody a ludic narrative of a girly

Designer and Photography: Christopher Edward de la Cruz Central Saint Martins

ANGUS KRAMER

@ANGUS.J.E.KRAMER

In his collection “What a glorious

space of the Confessional Box, pen-

Krammer’s choice of contrasting-

confession”, young designer Angus

itants were made to declare their

ly behaving materials is also extreme-

J. Kramer invites us to a historical, po-

sins, as a means to attain acquittal. In

ly significant, considering he uses

litical and philosophical reflection.

other words, it was a space of recon-

Suede, a resistant, durable material,

ciliation.

though superficially soft to the touch,

By correlating two phenomena that may seem superficially antithet-

Interestingly enough, several re-

ical -the Catholic Confessionals and

ports are known to have been cov-

the subcultural Gloryholes-, he intel-

ered up by the Church, of abusive

Krammer’s talent can also be ob-

ligently proves there’s a lot more to it

crimes that were then called “solici-

served in his creative process. His

than meets the eye.

tation” (when the confessor request-

drawings contemplate Renaissance

ed sexual acts to the penitants in ex-

Chiaroscuro, a technique which is

change for their absolution).

basically a smart pictorial game of

As he masters techniques in draping, top stitching and wiring, he brings forth dramatically construct-

Gloryholes are a mostly gay

it’s gentleness and fluidity.

contrasting shades as to achieve dra-

ed architectural pieces, with a ce-

subcultural

lestial scent of sinuosity, aroused by

where two people annonymously

Augustine once said “If you be-

aggressive elements of constriction

engage in sexual activity through a

lieve what you like in the Gospel, and

and censorship.

small hole between lavatory cubi-

reject what you don’t like, it is not the

cles.

Gospel you believe, it’s yourself.”

Catholic Confessinals have his-

phenomenon/practice,

alongside Cotton, a fabric known for

torically been envisioned as a space

A form of secrecy and deperson-

of political control over societal be-

alization altogether. We can also look

havior, a middle-age scheme that

at it through the angle of internalized

allowed the Church to exert it’s so

homophobia. Self-rejecting individ-

longed for omniscience over peo-

uals seeking to reconcile with their

ple’s intimate acts, thoughts and

true, inner selves (any resemblance

words. Within the tiny, concealed

to confession?).

ma.

MEA CULPA, MEA CULPA, MEA MAXIMA CULPA! Designer and Photographer: Angus John Edwin Kramer Text: Pedro Milanezi Central Saint Martins

Photographer right: Cassia Tabatini Photographer left: Editor x Istituto Europeo di Design SĂŁo Paulo

VITOR KENZO SHIBATA

@SHIBATAVITOR

by pedro milanezi

es date it’s beginning back to 8.000bC with the advent

In an Era of fast-fashion,

of agriculture, whilst others

careless

narcissistic

don’t acknowledge it to

consumerism and ruthless

fully characterize itself until

industrial practices, to see

the end of the XVIIIth centu-

a young designer interpel-

ry. Either way, it permeates

late for conscious cogni-

the significant impact of

zance of our destructive

devastation human activ-

patterns is, to say the least,

ities exert over the many

revivifying.

global ecosystems.

and

In his mesmerizing col-

By articulating raw ma-

lection “Entropy”, designer

terials such as gelatin bio-

Vitor Kenzo Shibata ex-

polymer and agar surfaces,

plores unorthodox, inven-

Shibata declaims the urge

tive and ingenious meth-

to adopt new, harmless and

ods to develop captivating

waste-free practices. His

surfaces out of completely

handbags and some of his

biodegradable raw mate-

accessories are gracious-

rials, like the leftover from

ly manufactured with a

native fruits.

sublime vegetable leather,

Inspired by the conception of the Anthropocene,

splendidly made out of peels of cucurbits (melons).

he assembles a cohesive and lyrical narrative of both

ABSOLUTELY INGENIOUS.

a planet befouled by it’s own inhabitants, and hope. As

Ghandi said “What we are doing to the forests of the

alluringly unblemished earthly tones meet seductively

world is but a mirror reflection of what we are doing to

besmirched surfaces, we witness geometrical, yet sin-

ourselves and to one-another”.

uous shapes and proportions take form. Artistic, yet er-

Touché!

gonomic. Melancholic, yet optimistic.

The Earth - and humanity- hold Shibata’s aspiration in

The Anthropocene is the most recent geological Era in the history of the planet. Some scientific sourc-

the highest of regards!

WEIRAN

by pedro milanezi

@VVE1RAN

Snakes can’t really perceive color, but their eyes are equipped with light receptors: rods that provide low-

It is well known that every species has a very different

light, but fuzzy visions and cones that produce clear

sensorial experience of the world we coexistently inhab-

images, as well as infrared thermal vision. Through lay-

it. However, how often do we take a step back and won-

ering warm-colored see-through patches onto a white

der how it would feel to experience the world through

and grey organza-like material, it delightfully feels as

the sensorimotor optics of an insect, a bird or a reptile?

though we experience the very same.

Designer Weiran’s breathtaking collection “Vi-

Birds, on the other hand, can perceive not only col-

sion of Animals” is not only an invitation to wander

ors familiar to us, but also colors of the UV spectrum that

through that reflection, but also a magnificent ac-

human eyes can’t. In a crafty layering of chromatically

count of how science, technology and creativity

diverse, ultrathin transparent materials, it feels as if we

can bring us to magically verge on ethereal and

were witnessing a digital UV spectrum color-show, in

oneiric perceptions.

which colors seem to blend and move and transmutate.

• Using 3D printing and other technological textile and chromatic experimentations, we are lured into a brilliant artistic representation of three very distinct optical systems: a snake’s, a bird’s and a fly’s.

The displacement of volumes in the construction corroborates the sensation of being in a dream.

Flies receive visual information from several different points simultaneously.Thousands of what are called om-

Parsons

Photography: Julian Song / @juliannn_song

Photography: Julian Song / @juliannn_song Parsons

ANNIE PURDFACE @PURDFACE

Designer and photography: Annie May Purdy Central Saint Martins

matidia each function as an eye of its own, which put together create a broad field of vision for the fly. But here’s what: their eyes can’t focus. A deconstructed denim-like garment makes us feel like we are watching through the same compound-eyes.

As functional as it may be, it’s impossible to take a clear and solid glimpse at it.

All in all, Weiran’s curiosity about the realities beyond human perceptions takes us on a spellbinding creative and sensorial journey. By using technological tools, she’s able to reprogram our eyes into biological mutations, all adapted for the fashion industry.

by l'éditeur x

Shoe’s designer Annie Purdface is joyful, young and playful. Everything we enjoy in the new generation of designers, with an incredible and FEARLESS ability to apply this naïve creativity into his designs. Shoes made out of forks? Boots out of potato chip bags? Why the f*ck not? We CRAVE designers like this, than why should we resist?

Supernature: Polimoda fashion Show 2019 Collections Credits: Polimoda, Ph. Giovanni Giannoni

ANDREA GROSSI

@ANDREAGROSSI____

erty (..)”, he is inferring that to control society, one must

by pedro milanezi

control it’s sexuality.

Andrea Grossi’s “Deusland” collection is not only a beau-

Grossi’s mastery in architectural constructions allow

tiful and poetic expression of graphic semiology, but

elaborate shapes and volumes to take place, taking us

also a brilliantly creative

back to Charles Worth’s

prognostic of the future of

mesmerizing

humanity.

Cour_* (court garment) of

By studying and correlating

two

*_Robe

de

the XVIII century. Yes, he ex-

institutions

quisitely reread Louis XVI’s

that have tragically shaped

court’s famous *_Paniers_*.

the way western society is

And worn by men (genius

today - the catholic church

much?).

and nazism - he manages to

We can’t help but no-

evoke strong and delight-

tice that oriental elements

fully disturbing images that

also show up timidly in his

invite us to reflect upon

astonishing prints, as well

where we are headed to-

as in the kimono-shaped

wards with current social

jacket we fell in love with,

mindsets and practices.

layered over a functional

His remarkable prints

denim jumpsuit that makes

give us both a historical

us wonder upon sustain-

overview

able

of

monarchic,

and

eco-friendly

clerical and nazi oppres-

practices, much needed in

sions, and brutally expose

fashion. Moreover, imper-

what the church covered

meable-looking

as the ultimate form of con-

call us out to a fair sense of

trol: the human body (we love the humor in the Papal garment pattern with the naked chest print).

The austere masks suggest violent silencing and suppression of human individuality.

When in his book “Discipline and Punishment”, Foucault said “(..) the body now serves as an instrument or intermediary: if one intervenes upon it to imprison it, or

materials

toxic protection.

His predictions become even more intriguing when we come across northern-american western references with a much less male-chauvinist behavior, but preserving it’s moral-anarchy mood.

Way to go, Grossi!

Left: Andrea Grossi's Portfolio

to make it work, it is in order to deprive the individual of

Right: Polimoda's Supernature fashion show

a liberty that is regarded both as a right and as a prop-

Polimoda

Photography: Giovanni Giannoni

JESSAN MACATANGAY

by joe bromley

in a different position on your body and it becomes heavy and painful”.

“Everyone has struggles”, says Jessan Macatangay,

The first design consumes it’s model with a heavy

the newly graduated BA Fashion Design with Market-

bulk of pleating, in deep teal with a swash of grey,

ing student from Central Saint Martins, “so I think the

as it’s protruding structure jaunts in three directions.

best thing is to find beauty and power in it”.

Moving through and the outer-space silhouettes con-

This is the story the 27 year old designer, from

dense to restrained tailoring and sharp, wide-legged

Batangas in the Philippines, set out to tell with his

trousers. “At the very end the struggles are no longer

5-strong graduate collection presented in June. Craft-

visible, but are still within you”, says Macatangay of

ed from Lycra and jersey, with bold structures built us-

the small blocks appliquéd to the last designs. “The

ing found wood and metals, each succeeding design

little squares of wood that make you stronger and

indicates the depletion of a problem. “I used a chair

more beautiful”. Remnants of what has come before.

to represent it”, he says. “If you think of the concept

It takes, he explains, cues from Dutch artist Melanie

of a chair, it’s not a struggle to rest and sit, but put it

Bonajo, who piles furniture on models to reflect the

@JESSANMACATANGAY

burdens of women, and the Australian Erwin Wurm’s

technique, imbuing the French couturier’s fluid effect

one minute sculptures – “where he puts chairs on the

into his designs.

body, then cuts and deconstructs them”. Having de-

The journey was not easy, as coronavirus struck

veloped the idea, his fitting model – who has been

and any original plans were scrapped and re-consid-

the same since first year – started to quarantine with

ered. Ironically, it is the very message his collection

him, beginning the experimentation period. “She

set out to tell; “the pandemic is a struggle but you just

tried on the chair and we found every opening she

have to face it”. Really, though, failure was no option.

could fit through”, he says.

“I already have a degree”, Macatangay says, explain-

Ensuring a visual attractiveness, even with the rig-

ing he is a licenced nurse back in the Philippines. “But

id, architectural structures, was key. For the fabric’s

I had to change to pursue my passion. I’ve already

print he looked to the vivid work of fellow Filipino

quit something so big, so for me – this is it”.

artist, Benedicto Cabrera, which he developed at the London based Richard Quinn Studio and Contrado.

With it, Macatangay used the Madame Grès draping

Photography: Corinna Luce Central Saint Martins

Designer and photographer: Aline Verest Background: Aline Verest's portfolio Royal Academy of Fine Arts Antwerp

ALINE VEREST

@ALINEVRST

by l'éditeur x

Can’t take my eyes off of you. That’s the title of Aline Verest’s

scenario that the designer found the only true way to really

most recent collection. Inspired in the book “Surveillance

hide in today’s panorama, hiding in plain sight.

capitalism”, it tells a story that focus on the lack of privacy of

Optical illusion inspired pieces, colorful pixelated prints,

today’s dystopian society and on the idea of a contempo-

“utilitarian” brooches, eye-inspired jewelry, all put together

rary capitalist panopticon.

to fit that mysterious mood. Every element dialogues with

Indeed, you hardly hear of secret societies, except

the times of dark serenity of espionage. Yet, her ability to

through artistic lenses. No more secret spies a la KGB, no

work with colors and complex constructions, demonstrat-

more hidden passages through the court of Versailles. One

ed as well in her dress project (left page), brought all these

can’t have the luxury of hiding in a society that demands at-

elements to contemporary times, working not in the 1970’s,

tention, likes, sales and exposition. It was coming from this

but in the 2020’s.

YEONGHO KO

@YE0NGHO

by l'éditeur x

Fascism, social struggle, indifference, witch hunts,

gressive young man called “Alex”, whose emotions

pandemics. Many people feel like the apocalypse is

he cannot help but exorcise with a LOT of anger. I

here, certainly we’ve seen a rise in arguments, heat-

can’t say I don’t relate.

ed discussions that so easily reach personal offenses

“Grab a mask, grab a weapon. No warning. No

and expositions. No wonder that designer Yeongho

virtue.”. Droogs and masks is a rebellious collection,

Ko decided to make a collection inspired in violence,

it talk about mistery and underground violence, but

even better, more than having “decided”, it’s reason-

there’s a redemptive side to it. If you look closely

able to say he was pushed to it.

you’ll see weapons made out of balloons. A delightful

Entitled DROOGS AND MASKS, it’s a project inspired in the iconic cult 1971 movie “A clockwork orange”. A movie that revolves around a joyfully ag-

explosion of emotions that isn’t harmful, but rather a SENSITIVE reflexion of the world built by others.

Royal Academy of Fine Arts Antwerp

Right Page: Yengho's portfolio / Yeongho Ko

Left page: Marnik A. Boekaerts

ANIA YELIZAR

@ANIAYELIZAR

by pedro milanezi

In a personal – and affec-

ment-making,

tive – reflection, design-

it dates back to several

er Ania Yelizar invites

societal

us to wonder about the

before the Middle Ages,

concept of ‘homeland’.

where people, in fact,

Having

grown

meaning

configurations

up

felt centralized in their

in Scandinavia, she in-

cultures and geographic

vestigates and depicts

spaces.

how many cultures have

Other inspirations,

held the view of their homeland as the center of the

such as northern folk movies and prehistoric art also

world.

fueled Ania’s creativity.

To materialize her deep speculation, she uses

By translating a side of the Black Metal scene

‘Coupe en un seul morceau’, a cutting technique

(which Scandinavia is known for) into a playful and

developed and refined in the 70’s by designer Gen-

lighthearted aesthetic, she articulates an even deep-

eviève Sevin-Doering, in which a garment is sculpt-

er and more personal connection to her creations.

ed from a single piece of fabric on the body. It is not haphazardly that she chooses to use such technique, as it is a consistent study of pre-tailoring gar-

The result is a crafty topological journey, where sculptural shapes take form.

Belgian designer TOM VAN DER BORGHT is no novice

@T.VDB_OFFICIAL_PAGE

to starting afresh. He talks to Joe Bromley about enter-

Text: Joe Bromley

ing the industry at 34, getting it wrong and finding his

Photography: Pasarella Photography (Runway)

balance between fashion and art.

& Kaat Pype (Lookbook)

The story behind a Fashion Chameleon “When I was 27 I discovered I had a genetic muscle

begged his conservative parents for. “I never played

disease. Eight months after receiving the news I had

games with them, they were just bodies to dress”, he

a huge health crash and was paralysed for about six

says, remembering a specific offcut given to him from

months”, says Tom van der Borght, the now 42 year old

his couture teacher mother. “It was a piece of English

menswear designer-come-artist, over the phone from

lace. I think I draped around 200 dresses out of it. It was

his home in Ghent, Belgium. He is recognised for his ex-

my favourite.”

plosive, sculptural and cable-tie heavy garments which

Borght did recover from his paralysis, and by 2012,

earned him one of ten finalist places for the Fashion De-

at 34, he had graduated with a Masters in Fashion De-

sign award in the 2020 Hyères festival, 15th – 19th Octo-

sign from Stedelijke Academie voor Schone Kunsten of

ber, a French competition for new creators.

Sint-Niklaas, a school just outside of Antwerp. Six sea-

Unable to leave his bed, he was forced to accept he

sonal collections followed, defined by clashing, self-de-

wanted a change. To stop his six-year career as a social

veloped prints – be them psychedelic, cartoon or col-

worker and attempt to enter the world of fashion. “I re-

lage – in streetwear silhouettes and handmade platform

member consciously making the decision: ‘Ok, if I ever

shoes secured by ropes. But it didn’t sit right.

put one foot on the ground again, then it’s time to go and do what I always wanted to’”.

After the three years geared towards fashion weeks, he pulled back and enrolled in a Post-Masters Perfor-

His childhood was spent in Limburg, Belgium, an

mance Art degree at Holland’s Maastricht Academy of

area well acquainted with indominable designers;

Dramatic Arts, tired of the overbearing commerciality.

Martin Margiela and Raf Simons grew up there too. He

“That’s where the puzzle pieces matched together”, he

recalls making clothes for the two Barbie dolls he had

says. He has come to the conclusion: “I’m too fashion

to be an artist, but too much of an artist to be a fashion

replaces them annually. “I was trying to connect them,

designer”.

and thought: ‘let’s try the cable ties’”. As he fastened

In his most recent collection, ‘7 ways to be TVDB’,

them to a mask, letting them point out horizontally, he

which stormed the Netherland’s FashionClash Festival

had an idea. “Oh my god, if I place it on top of all of

in November 2019 winning both the Grand Jury Festival

the ropes I can create such a volume”. The experiment

Prize and Audience Award, the shift he had undertaken

became the closing garment, a melting pot of hundreds

was clear. Seven spectacles appeared, bulbous silhou-

of ties which appeared part painted hedgehog, part

ettes made mostly from non-clothing materials, bursting

pom-pom. “It looks very spikey and dangerous, but if

with colour and eruptive

you hug the person in-

headgear.

side tightly, they bend

One model, carried

and won’t harm you. I like

down by two clad in in-

that tension of the out-

dustrial jumpsuits, wore

side, protective layer”,

a dress crafted from

he says of it.

climbing ropes in sunset

A lot came before

red and yellow, blue,

the crafting, however.

black and green. On top,

“I went through a very

sprigs of coal shade tin-

abusive

sel lined the clavicles,

and a difficult divorce. I

bright tassels of foam ex-

was almost at the point

tended from the wrists,

where I quit everything.

and reaching the ankles

Quit working, quit being

were cheerleader size,

who I was”, Borght says

long bustles of gold,

of the run up. 2019 saw

white and more black

him take charge. In April

tinsel. Covering the face,

he produced a short film,

a mask with cable ties

July a ‘survival guide’ ex-

spiking outwards. Others

hibition centred around

felt electrical, as elastic

seven self-portraits, and

relationship

toggles from coats and jackets looked like wiring feed-

in August the collective research and ideas were put

ing through clear plastic tubes to form a revealing dress

into the clothes. It was, for him, “my resurrection out of

and matching star shaped mask. And all were a far cry

a very dark time”. But he hopes it poses bigger ques-

from the bomber jackets and sweatshirts of before.

tions than heartbreak.

“When I graduated I focussed on streetwear. Now, it’s had an evolution to really unique pieces”.

One, he hopes, is fitting into society’s boxes – something his extraordinary shapes do not. “Since I was

“It all started with the ropes”, Borght says of his pro-

young I always had this experience of being found

cess, collected from a mountaineering centre which

weird or special or different”, Borght says. Interestingly

this manifests in tribal references, he says for a “contemporary tribe”, though elements seem reminiscent to the silhouettes, masks and bright colours you might find at a traditional dance in the Ivory Coast. What is his take on cultural appropriation? “I’ve always had huge admiration and respect for tribal cultures, a lot of my inspiration is definitely coming from there”, he says. “But I really hope I show something that goes beyond this concept of cultural appropriation, because I never really look in one direction. I never really take inspiration from specific tribes”.

When we speak, Borght is spending time developing his work for the Hyères festival. “I will show the jury an evolved version of the [November] collection. I am currently making it much bigger”, he says, “fifteen or sixteen looks in total”. More than double. He also lets on a new partnership he has entered with Swarovski; “There will be some Swarovski surprise!”. Inspiring him throughout this period of chaos has been the graduate designers of the Class of 2020. “Everything that I saw, especially from the Royal Academy of Fine Arts, Antwerp, excited me so much”. Their virtual show, he says, “was such a liberating and an enriching performance”.

After illness, career U-turns and tumultuous personal experiences, it is going to take more than a pandemic to stop Borght. After all, designing from paradigm shifts is his strength. In reflection on what has been, and what is to come, he is pragmatic, but also – quite clearly – eager. “I think that any change always induces evolution, and evolution always comes with good things and bad things. I’m sure this will too”.

Photography DIMITRI D'IPPOLITO Styling CHIARA BATISTONI Photographer's Assistant CLAUDIA GENCO Model ESME TALLI – TROY AGENCY Makeup artist MARY D’ALISE Hair Stylist RRED MAKE UP & HAIR ARTIST

Left: TOTAL LOOK Linus Leonardsson @linusleonardsson Right: DRESS Linus Leonardsson @linusleonardsson BOOTS Meta Cunder @metacunder

JACKET Claudia Genco @_gingerhair

TOTAL LOOK Olivia Yates @livvywivvy

Private Sunshine, artwork by Janne Parviainen

by l'éditeur x

sion of talent, but also a knack for self-indulging and rationalizing the status-quo with empty neoliberal phras-

“Every generation is a reaction to the one that came

es.

before it” says social analyst Mark McCridle, creator

“Just be yourself, shop and all will fall into place” was

of the term “Generation Alpha”. And isn’t that just

their motto. A beacon of fire from the liberal ideology,

how art movements happen? Nieztche would cer-

that was all the more empowered after beating not

tainly think so. Isn’t there a side of the creative human

only one, but two of the grand pillars of human mod-

spirit that is just rebellious? A cultural pendulum that

ern social designs: fascism and socialism. That, which, in

explores the power of opposing the system? Much

the past, was a macro dispute, became a unstoppable

like of how countercultural movements happen, the

force of consumism and self-expression.

same can be said about the paradigm of human social generations.

Don’t judge them too fast. Although self-centered, millennials didn’t hold any big wars. No dystopian of apoc-

The Baby Boomers were the children born after the war,

alyptical societies (at least not in the surface). A pax

between 1946-64. They didn’t exactly lived through any

armada survived, but not completely sterile. Creativity

of the Great Wars, but they surely inherited post-trau-

was in place, though more precisely, institutionalized

matic values from their parents. They are the most ca-

creativity. Fashion grew a lot, even in comparison to oth-

reer-oriented generation alive. They were radical and

er industries. A lot because of their tolerance towards

were called the “protest generation”. Their main goals

generic “plagiarism”. It was the generation that created

were producing wealth and living a STABLE life. They

social media and invented the idea of influencers, con-

weren’t all bad as we hear, they constructed a lot of

cepts incredibly criticized nowadays, but that shaped

what today we enjoy. They had an immense aversity to

reality as is.

tolitarianism and violence. In fact, their aversity to violence was so big that they never let it completely “lure

Finally it was too much. All that annoying brightness of

out/ be explored”. One of their great sins was actually

bloggers and hedonism backfired. It wasn’t possible to

overdoing it, silencing emotions and allowing, with their

expect “a fairy tale of eternal economic growth any-

best interest at heart, that institutionalized violence per-

more”. People were jaded of their own lack of moral-

sisted. Remember capitalism and the police.

ity. That constant criticism on the background had to come to surface. It wasn’t enough anymore to say that

Of course that also created a reaction, countercultural

consumerism was a problem, that environmental issues

groups such as the Hippies and Punks reacted to all this

would just solve themselves in the end. It was time to

law and order, by working precisely as a counterforce,

take action.

valuing freedom of spirit, anti-establishment craft production and a vacuum of rules.

In many ways, generation Z came as a form of redemption. Social activists, breaker of chains and incredibly

Finally at the 90’s, again another period of stability. The

annoying. Born in the world of social media, they took

millennials were rising and finally the 2000s allowed

their activism into action. Fighting racism and social in-

them to explode in all their power. The ME generation

equality, their goal was to stop selfish hedonism, in any

was creative, and yet, incredibly selfish. With an explo-

way possible. Shifting society from ME, to WE.

Don’t think, however, that all of them are like this. Gen-

Being born in a fully digital world will also create its

eration Z, above all, hates strict social profiling, it’s all

counter social effects. Alphas will crave multisensorial

about fluidity. Even inside Gen Z, you can still find gen

experience. This generations will be the one who will

ME (WGSN, 2020). Although extremely creative, pas-

strongly move away from the two, three and four di-

sional and self-opinionated, they still hold values, that

mensions of the digital and migrain to experiences of

allow studies to classify them as Z. Gender fluidity, mul-

smell, touch, listen and taste.

ticulturalism, social awareness, that all matter to them,

Don’t think this is a prediction for a distant future

but their approach is much more ironic, subversive,

though. The signs of the this new social order are al-

and sometimes even less aggressive than those from

ready here. While John Galliano decided to arm mod-

their peers. Irony is the word, escapism the path, com-

els with VR sunglasses for his collection “Neo-digital

petition the tool and success with purpose the final

Natives” for Maison Margiela, young emerging design-

goal.

ers such as Mathilde Rougier, a graduate students from Central Saint Martins is producing garments using aug-

The cultural realm of gen Z, however powerful it may

mented reality. Bioengineering in the human body may

seem nowadays that is peaking, won’t last forever. Mille-

probably just be another trend for the distant future,

nialls (remember them?) are already grooming the most

along with all it’s repercussions, but that’s for another

interesting and powerful generation you’ll read today.

day…

They’re also, the future soldiers who will reclaim the throne of cultural supremacy and revenge their fathers.

"The project hints at a future where we will be able to

They are the kids born between 2010 and 2025. They

download content to our clothing, viewable through AR

are generation Alpha.

glasses, and present ourselves differently to everyone around us,” says Matthew Drinkwater, from the London

“Gen Zs, the group born between 1995 and 2010

College of Fashion’s Fashion Innovation Agency. “Our

grew up when social media was being established.

identities are constantly evolving and becoming more

For them it’s a tool. For alphas, it’s a way of life.”. Gen-

fluid by straddling both the digital and physical realms,”

eration Alpha is the VR generation. If gen Z criticizes to-

adds Stott. “Digital fashion allows people to fully exper-

day’s world, it’s up for gen Alpha to imagine new ones.

iment with how they would like to be perceived – and

They won’t be an hedonist generation though. More

push limitless creative boundaries. A hairstyle made

balanced, generation alpha will crave acceptance,

from water, a dress that alters its shape according to

community and belonging. They won’t need authority

sound: these are all possible.”

structures, and not because they will live in anarchy, but because collaboration is only becoming stronger. The old traditional power hyerarchy will be considerably diminished, but with the idea of collaborations comes the idea of responsibility. They will ingest less alcohol and calories and their childhood will be much shorter. Other social movements such as multiculturalism and disintegration of gender norms will not only be maintained, but they will be empowered.

Modular augmented capsule, by Mathilde Rougier

K-OSHA

Immersed in the amniotic fluid of continuous connection and sharing, we lived in a state of illusion.

The new energy moves digitally and allows us to expand knowledge to transform on the Internet, freely.

Like a shifting stream, consciousness expands and changes us, technological fluid beings.

3D art work by Ankkh, Christian Dรถmeny and Anna Morskaya

Photography: Danielle Levitt

MICHÈLE LAMY

MICHÈLE LAMY IS A BEACON OF INFLUENCE. HER REACH LIES NOT ONLY IN NUMBERS, BUT IN INTANGIBLE POWER OF INFLUENCE. SHE IS NOT ONLY A GREAT SOURCE OF INSPIRATION TO OWENSCORP; MICHÈLE IS ALSO A MULTI-TALENTED ARTIST WHO HAS CHAMPIONED THE CAREERS OF PROMISING FASHION CREATORS SUCH AS GARETH PUGH AND AHMED ABDELRAHMAN. ADDITIONALLY, SHE’S ALSO DESIGNED LAMYLAND, A FREE ART PLAYGROUND TO THE ARTIST’S MANY INTERVENTIONS, THAT INCLUDE A BOXING RING IN A CORNER OF SELFRIDGES AND A PHOTO DIARY IN DUBAI THAT CAUSED QUITE AN IMPRESSION. WE ARE DEEPLY PROUD TO INTERVIEW BRUTALIST CULT SENSATION THAT HAS SO MUCH OF WHAT WE ADMIRE AT FASHION NEW ORDER…

'Yes, we do love perversion and subversion.

With a lot of humor I hope.'

Editor X: FNO is a fashion portal that values, above

a place quite associated with the “third-eye”, a locus

most, creativity and creative freedom of expression.

of occult power and wisdom. Were those very con-

We’d love to know about you though, what do you

scious acts or simply intuitive choices of look disre-

fight for, at the moment? Also, what hope should we

garding previous symbolisms?

have for the future, what do you see happening in this world that is ever more divided?

ML: Yes I’m often wearing a do-rag and always drawing a black Kohl line on my front.

Michèle Lamy: Yes we are all wondering what's the "new order" of Fashion?

It's the time to figure out how to stay safe and healthy

And yes often – especially in taxi cabs – the drivers want me to read their palms or give them numbers for the Loto!

and try to understand what has happened to us in our

We do love perversion and subversion.

21st century – a virus – a little flu virus is attacking our

With a lot of humor I hope. Laughing at what we have

world and forces a reshape of our routines and more to try to reform all the bases of our civilization.

not got / when we ought to have it...

Recognizing the power of self-respect and that anything worth having has a price, metaphorically speak-

X: Now, concerning your personal image. We do love perversions and subversions. Is there a story behind the clerical headpiece you’ve used often? What about the clear line in your forehead? I know that’s

ing.

X: Throughout your life, you’ve championed many young artists, like Giovanni Bassan, Ahmed Abdel-

rahman and many others. What would you recom-

which I formed with the sound artist Nico Vascellari

mend to a young fashion designer graduating today?

and my daughter, the artist Scarlett Rouge. The sound is

Many of our readers are from Central Saint Martins,

primitive, electronic, meditative, compelling.

Antwerp and Polimoda, they would love to know

From then we knew that we had a 'collaboration in

any good advice on the beginning of their careers.

the making' here… with him rearranging / re-working

We know you’ve championed Gareth Pugh, after he

the antlers –that I have very often been wearing from

graduated from CSM. How was that relationship?

different mammals!

What did you sense in him that made you believe that much in his work?

The best images of me wearing them are from the Rick Owens x Moncler collab celebration that, even if it had to be so discreet in the beginning due to timing,

ML: So you assume that I have the eyes to detect who

ended up being the most ‘hip-hip Hurrah’ staging of

will be the next designer or trend.

Rick and I ‘on the road’ in a customized Rick Owens x

Did I not do the best with Rick Owens..? He was 25

Moncler collab tour bus on a road trip through the West

and I was concluding

Coast (USA) – artsy no-

a little adventure in my

mads we were!

'Michele Lamy' clothing world... I gave him the baton...

Then I was seduced by the singularity of vision and humanity of spirit of Gareth and Ahmed who have now

'So you assume that I have the eyes to detect who will be the next designer...'

X:

Regarding

your

own artsy world, Lamyland, are there any news you’d like to share on future projects? Any collaborations we should expect to see?

gone their own way.

X: I know you occa-

ML: In the Lamyland

sionally hire interns from fashion top schools. You

world... we are preparing the only gig that was 'can-

have also worn some of their pieces, like Brandon

celled but reinstalled' for the 10th of October in Latvia

Wen’s horns, for example. What qualities do you look

where LAVASCAR will be headlining! Crossing our fin-

for in a good assistant?

gers – being long in the tooth, I'm antsy… to make the most of my time… But I want to take chances, to do my

ML: As for Brandon, I did "steal “ him from his intern-

own work with my tribe and take pride in it.

ship at Rick Owens ... and as I was co creating / perform-

I’m fighting for a new way of being, ready to imagine

ing in a Cecilia Bengolea performance during Performa

a new world. It will unfold on my Instagram ‘What Are

last November in NY – he ended up being one of the

We Fighting For’ Live series… we’re kicking off again

main dancers in our "before we die" piece. The piece

come September…

involved the entire cast wearing archive pieces from my treasured Comme Des Garçons collection and the music taken from my conceptual art band, LAVASCAR

Photography: Danielle Levitt

Cr. Director and photographer EDITOR X Make-up artist CHRIS PAIVA Hair stylist MARCO TOTTI Model GUILHERMY PACHECO, AGENCY BY CLÔ

Puffy jacket: FNO Studio Watch: Gucci Remaining, stylist's own

Bermuda shorts: FNO Studio Remaining: stylist's own

Total look: stylist's own

Jacket: FNO Studio Shirt: Loewe Remaining: stylist's own