[BA Fashion Essay] The Enfant Terrible of Fashion: Dilara Findikoglu

“B-FH232 Cultural & Contextual Studies 2B

The Enfant Terrible of Fashion: Dilara Findikoglu

Irissa Nur Khair BAFMIN4B / 20600

Rohaizatul Azhar Lecturer AY 2019/20 Submitted in Partial Fulfillment of the Bachelor of Arts (Honours) Fashion Media and Industries

LASALLE College of the Arts Faculty of Design Singapore

Accepted by the Faculty of Design, LASALLE College of the Arts, in partial fulfilment of the requirements for the degree Bachelor of Arts (Honours) Fashion Media and Industries

Rohaizatul Azhar Lecturer

I certify that the work being submitted for examination is my own account of my own research, which has been conducted ethically. The data and results presented are the genuine data and results actually obtained by me during the conduct of the research. Where I have drawn on the work, ideas and results of others, this has been appropriately acknowledged in the essay. The greater portion of the work described in the essay has been undertaken subsequent to my registration for the degree for which I am submitting this document. © IRISSA NUR KHAIR In submitting this work to LASALLE College of the Arts, I understand that I am giving permission for it to be made available for use in accordance with the regulations and policies of the college and that the work is also subject to the college policy on intellectual property.”

________________________________ Irissa Nur Khair

Art and fashion have shared a rich, symbiotic relationship for decades past constructing the very ethos of today’s fashion landscape. It is not a new phenomenon for collaborations between fashion and art, for they can be seen as objects that “do not complete nor exclude each other, who are no more or not yet the other”. (Barthes) An example of its distinct form can be seen in Yves Saint Laurent’s famed Autumn/Winter 1965 Collection, which was a homage to Piet Mondrian, a cubist artist. The replication of Mondrian’s primary-colour block print was made into several dresses, highlighting the relevance of cubism in the popular culture of the sixties.

It is indisputable that fashion holds a crucial role in sustaining art’s relevance in today’s capitalistic, consumer-driven society through means of commercialisation. It is then the role of the fashion designer’s to determine their intentions through the artistic value of their garments. After which the garments can be deemed redeemable to be a form of “artistic dress…. that glorifies the human body” (Cunningham 214) As such, more young designers are inclined to absorb a wealth of ideas from other creative disciplines for a more nuanced and perceptive account when creating new fashion garments. This essay seeks to elucidate the extent to which art influences fashion in the present day.

Avant-garde couture designer on the rise that weaves compelling narratives through the very fabric of her collections is Dilara Findikoglu. Being raised with traditional Turkish and Islamic values has brewed a sense of rebellion in the designer’s character and extending into the aesthetic value of her garments. The eponymous brand is synonymous with empowered tailoring fused with historical references and social commentary, pushing the boundaries of what is deemed as the norm, distorting and twisting conventions for pleasure purposes. As fashion “expresses two contradictory tendencies, taking inspiration from ambivalence yet trying to fix identity through image or style”, it is safe to say that Findikoglu is exemplary of that notion. (Entwistle 135)

Figure 1. Dilara Findikoglu Logo

Findikoglu’s fantasy-goth aesthetic often incorporates religious and occult iconography. Her intentions when using religious imagery is simply to “create awareness, to give people something to think about”. The first of many symbols she uses is evident in her branding. The crescent and star in her logo as seen in Figure 1 has a double meaning. It can be viewed as a derivative of the Turkish flag, signifying her Turkish lineage and as a symbol of Islam, signifying her Islamic household. However, as the symbol is inverted, this perversion could be taken as a deviation from the values surrounding her conservative upbringing and rebuking of the on-going corruption in Turkey, resulting in her rebellious present-day identity.

Symbolism appears throughout the designer’s collections in the form of digital codes, fonts, logos and hypertexts, referenced by various artists - reimagined in her punky visual language. The designer has been quoted to think “it is shallow to use the tulip or tughra symbols” for they are too cliché. Thus, turning to unorthodox narratives of her culture, Islamic mythology and the occult. Her desire to reinvent new meanings through the use of different symbols is crucial in society as it “forms our manners, our opinions, our lives; it is a species of mutual compliance” (Burke 45) Upon graduation from Central Saint Martins, Findikoglu presented her first official collection at London Fashion Week, the Rebellious Collection Autumn/Winter 2016, seeing

her clothes as a commentary on the political turmoil in her home country of Turkey. Citing Vivienne Westwood’s punk aesthetic as an inspiration and playing with narratives she grew up with of Turkish history, this collection features her signature violently slashed, heavily embroidered red-black-white garments.

Figure 2. Dilara Findikoglu Autumn/Winter 2016 Collection, Look 3/9

The designer combined the ‘70s tailoring with embroidered motifs from rock ‘n’ roll iconography, religious symbols and tattoos. A particular look in the collection, consisting of an overcoat and a pair of chaps are made from the same textile as giant Turkish carpets.

This unique choice of material takes inspiration from Belgian conceptual artist Wim Delvoye, who incorporates the same elements as Findikoglu in his work - tattoos, religious symbols and Turkish references. The dark humour in his work, noted to be provocative and oxymoronic, explores illicit mergers that is a common feature in works from both the artist and designer.

Figure 3. Installation of “Tabriz”, “Shahreza”, “Arak”, “Karaj”,”Khermanshah” and “Bidjar” (2010-2016) Artist: Wim Delvoye

The contradiction in Delvoye’s is evident: pigs are loved as they symbolize abundance and at the same time, they represent dirtiness. The animal casts are then covered in a luxurious Turkish carpet textile, fitting the sculpture perfectly in a classical interior. In the case of Figure 2, the pigs are displayed in front of “Le martyre de Saint Liévin” in the Royal Museums of Fine Arts of Belgium. This sublime clash of narratives portrays the hypocrisy of our time, which contributes to the aim of Delvoye’s work; to stir consciousness about our surroundings.

Figure 4. Close-up of Dilara Findikoglu Autumn/Winter 2016 Collection, Look 3/9

Upon closer analysis of the overcoat, it is evident of several religious symbols on the external panel of the garment. Particularly the symbol of the crucifix and skull, representing Golgotha, the hill where Jesus was crucified. This garment, just like Delvoye’s work, serves as a subversive commentary and in the case of Findikoglu, it is about the escalating religious division in Turkey. The allocation and appropriation of symbols from various belief systems, embroidered onto a canvas of Turkish origins preach a “pseudo-religion, with a new set of guiding moral principles.” As quoted by the designer herself, “I wanted to create a situation where religion was more about peace than war.” This collection was a reaction to question fundamentalist constructs that are currently terrorizing the world, particularly the world she came from - Turkey. The attitudes and conventions of these garments would construct a new belief system that ignores the control imposed by religions and unifies people by its laws based on simple human acts.

A year since her guerrilla BA Fashion show named #encoreCSM, Findikoglu presented her Spring/Summer 2017 Collection, titled “Dear Past, Thanks for All The

Lessons” in an unorthodox yet apt location - Sunset Strip Club. In a comment about the choice of venue, the designer stated that it is “where you see the most of women’s bodies, so I’m going to show them a real take on women’s bodies.” Findikoglu strayed from her signature red-black-white palette for a more feminine, girly twist, while still keeping elements of goth; it was a defiant celebration of her take on a ‘woman’s skin’ and girlhood.

Figure 5&6. Dilara Findikoglu Spring/Summer 2017 Collection, Looks 3 & 4/13

Figure 7. 18th Century Corset, Metropolitan Museum of Art

The garments proudly salute female authority and empowerment, portraying the styles of Brazilian biker girl gangs to Elizabethan Shakespearean costumes like in Figure 7 the designer’s beacons of female strength, power and non-conformity. The entire collection boasts glam rock separates, re-invention of 18th-century corsets, Victoriana collars and Tudor sleeves. As seen in Figure 5, it is an opulent mix of black-and-white Harlequin print on tracksuit bottoms, ‘70s-era PVC thigh-high boots and rose-hued satin ensembles with gothic lettering scribbled on. The corset bustiers as seen in Figures 5 and 6, decorated in lace and frill seem to date back to the 1800s, around Marie Antoinette’s rococo heyday. Inspired by empowering women of the past such as Marlene Dietrich and Elizabeth I, it is no surprise that Findikoglu channels this element throughout each collection. The culmination of different garments from different periods and cultures contributes to Findikoglu’s feminist vision of celebrating the evolution of the female form.

Figure 8. Dilara Findikoglu Spring/Summer 2017 Collection, Look 13/13

In Figure 8, it features a bridal-esque mesh veil with gothic block lettering embroidery of the collection’s name. The title is derived from a t-shirt Cilem Dogan wore, a Turkish woman jailed and subsequently released for killing her abusive husband. That starting point motivated Findikoglu to manifest an aesthetic u-turn to create a ballsy attempt at reclaiming certain elements that once have subjugated women, for instance, the corsets and bridal veils. The designer addresses global issues such as women’s rights, equality, religion and world peace through the messages embedded in each garment.

Figure 9&10. Apron and skirt with stitched text from performance installation, “She Lost It’ ( (1992) Artist: Louise Bourgeois

There is an uncanny resemblance between the mesh veil and these garments shown in Figures 9 and 10. These garments are of the works of Louise Bourgeois, an American-French multidisciplinary artist. Best known for her large-scale sculptors, the artist has explored themes of patriarchy, motherhood and what it means for women to subjects rather than objects of art. It is no surprise that Findikoglu would draw inspiration from the artist’s works and the ways she uses materials and techniques. Specifically to this collection, with the substantial dose of lace and tapestry, the two had transformed those elements into something contemporary and unconventional, whereas in the past it has typically been viewed in the context of feminine domesticity. To quote the designer on the lessons she’s learned from Bourgeois is that “she kept producing new work until she died, which gives me hope that I can maintain the ability to be creative, even when I’m a lot older”.

The study of the artwork above, whilst not of the same grandeur of the other works of Bourgeois, is still important for “the historical study of clothes is inextricably linked to and dependent on that of visual art for a simple reason: their perishable nature.” (Miller 25-40).

Findikoglu has managed to tastefully honour the body of a woman and its representation throughout the centuries gone by.

In September 2017, Findikoglu presented her first collection in a runway format titled ‘Seven Sisters of Inherited Sun. Staged inside an Anglican church in central London, the designer presented costumed characters that depicted 21 souls of society by means of a summoning seance. This collection highlighted her trademark semiotic approach with fashion and explored the concept of a juxtaposition of visual elements from Victorian gothic imagery and the occult.

Figure 11. Dilara Findikoglu Spring/Summer 2018 Collection Set Design Artist: Gary Card

Figure 12. The Masonic Chart (1876) Artist: Currier and Ives

The show was set against a towering set of alchemical symbols which resembles the Masonic emblematic chart, all within the church. The chart consists of 15 common Masonic symbols, of which the ones present in both Figures 11 and 12 are the All-Seeing Eye, the Square and Compasses, the Blazing Star and the letter G. The meaning behind it is quite literal, that Freemasons need to “square their actions by the square of virtue with all mankind” and places emphasis on making better men out of good men. The choice of location allows for an immersive experience into her collection, serving as a juxtapositional extension of the issue she is addressing in this collection. Findikoglu was on a mission to enlighten and awaken her generation by creating an illusion of the present world through the different characters that would walk amidst the crowd.

Figure 13 & 14 . Dilara Findikoglu Spring/Summer 2018 Collection, Look 5 & 19/20

In an attempt to bring forth her view of the present world, Findikoglu had split the looks into sections: believers, rebels, thinkers, politicians, royals, religious leaders and God. The designer approached it from a mechanical way of playing and balancing the dichotomy

between her deep ideas with beautiful garments. The collection is built around the idea of strong mythological women, ‘impervious to society’s pressures’. Whilst keeping true to her running theme of Victorian-era and punk rebellion, Findikoglu merged elegant embroideries, lace and frills with silver chains, pins and buckles. This juxtaposition of feminine and punk elements is the design aesthetic that the designer has kept constant throughout all collections. In Figures 13 and 14, it is clear of the designer’s signature red from the tartan dress to sweeping wedding gowns. Findikolgu’s admiration of the occult through horror movies is now reflected in her gothic fashion. Throughout the collection, it is evident of the designer’s empowering craftsmanship and preference of “grandiloquence of layers upon layers” of fabric and textures as opposed to a minimalist aesthetic. This design choice blends well with her unconventional casting of models such as tattoo artist and witch Grace Neutral, drag queen Violet Chachki and non-binary model Dustin Muchuvitz, to name a few.

Figure 15. Close-up of ‘Eve’ for Dilara Findikoglu Spring/Summer 2018 Collection Figure 16. Triquetra

Figure 17. Close-up of ‘God’ for Dilara Findikoglu Spring/Summer 2018 Collection

Figure 18. Pentagram

The designer’s extensive fascination with symbolism had the models clad with occult face paintings, dark eyes and stoic expressions. In Figure 15, we see the ancient symbol of Triquetra on the model’s face. It was used to signify the three life-cycles of a woman concerning the phases of the moon honouring the Mother, Maiden and Crone of the neo-pagan triple goddess. However, now it is more recognized as The Father, The Son and The Holy Spirit' to Christians. In Figure 16, the upright Pentagram symbolizes magic, light and femininity in Wiccan and Celtic religions.

It is not shocking that the inverted pentagram that symbolizes evil and dark was not used instead. While Findikoglu respects the power of religious iconography, it was not the designer’s intention to divert the true meaning of the collection. The garments and the matching makeup together were presented to be a juxtaposition of symbolic references as a “form of visual art, a creation of images with the visible self as its medium.” (Hollander 311)

Figure 19. The Milk of Human Weakness III (2011) Artists: Jake and Dinos Chapman

Citing the Chapman Brothers in her research, Findikoglu is drawn to the haunted quality of their artworks. In Figure 19, the statue of Jesus is vandalised with a nazi symbol on the carved onto the forehead. The use of ‘body modifications’ on the statue, in the case of the models it is a supplement, works to show the duality of objects deemed sacred. Inverting familiar images into a dark, political and controversial statement is a feat that both the designer has adopted into this collection; carrying out an unorthodox fashion show with arcane symbols in a church is a sacrilegious act. Despite her intentions of highlighting our disillusioned society through the characters, the show had attracted biblical media backlash and comments from British media that described it as a ‘satanic orgy’. Any attempt to wed art with fashion is arguably “destined to trigger tensions.” (Grovier) Nonetheless, the negative public reaction solidified Findikoglu’s message of a disillusioned society.

Following her first fashion show, Findikoglu held her second runway show, Autumn/Winter 2018 at the gilded Banking Hall. The collection, titled Dilaratopia was a show about championing femininity and negating the patriarchal influence. An excerpt of the show’s manifesto reads: “We will no longer operate within your matrix of power, we choose to instead live free. We yield to none in our appreciation, wonder and respect for the woman.” The focus was on the female gaze for “men look at women...women watch themselves being looked at.” (Berger 73) The collection was brought about by the desire to escape the world of Trumps and Weinsteins, given the political climate that year. Where last season was cut-throat with wild, satanic punk attitudes, this was a quieter, more restrained show with celestial and heavenly figures. In practice, it meant that Findikoglu had to tone down her dark and gothic aesthetic for a more ‘peaceful’ feeling.

Figure 20 & 21. Dilara Findikoglu Autumn/Winter 2018 Collection, Look 6 & 7/25

Communicating with nature and its spirits has been crucial to Findikoglu’s work since the beginning. As with such references to the occult, the models were transformed to look like Medieval deities with high arched eyebrows, exaggerated lips and braided hair that resembled celestial spheres. The garments presented were deconstructed classic pinstripe suits, astrology-embellished blazers and the designer's signature corsetry which made for a theatrical, elegant collection. As seen in Figures 20 and 21, the heroine sisters, aptly named

by Findikoglu, are dressed in blue ensembles, adorned with gold trinkets and celestial embroidery of the sphinx, stars, starburst, planets, eyes, moon, snakes.

(L) Figure 22. St. Mark’s Clock, Venice, Italy (1496) Artist: Giampaolo and Giancarlo Rainier (R) Figure 23. ‘‘Ceiling in the music room of Villa Stuck’, Munich (1896) Artist: Franz Von Stuck

It is evident of the inspiration behind the looks in Figures 20 and 21 as we analyse St.Mark's Clock and Franz Von Stuck’s artwork. It is one of the largest public astronomical clocks erected in Europe during the 14th-15th centuries. The enamel blue background, symbolising the skies and the gold figurines, symbolising the 12 zodiac signs. This refreshing colour palette is vastly different from the striking reds, blacks and whites that are synonymous to the Findikoglu brand. This is aided with a different set of iconography used throughout the collection. As seen in both Figures 22 and 23, the five planets, Saturn, Jupiter, Mars, Venus, and Mercury are shown, as are the moon's phases and the position of the Sun in the zodiac. These celestial symbols have been incorporated in Findikoglu’s collection, showing the audience that her fascination with iconography is not just limited to that of Islamic and Christian mythology but also that of Babylonian mythology.

Figure 24. Dilara Findikoglu Autumn/Winter 2018 Collection,”Eve” Look 25/25

As for the final look of the collection, as Couture tradition would follow, Findikoglu presented her twist on a bridal look. The character named Eve, aka The Power, was dressed in a diaphanous, breast-baring white dress with gold embellishments. The deconstructed hybrid combo panel, coupled with a white veil, tied unconventionally tied along the model’s arms, pointed shoes and a gold tiara crown. Findikoglu’s reliance on ‘regalia and centuries-old grandiosity’ is influenced by the historical dress of the 18th century. As quoted by the designer, “each season there is a Botticelli image in my research.”

Figure 25. La Primavera (1482) Artist: Sandro Botticelli

Figure 26. Close-up of Venus in “La Primavera” Artist: Sandro Botticelli

The designer had attended an Italian high school in Turkey, thus discovering Renaissance paintings and her fascination with Greek mythology. Drawing reference from this devotional Botticelli painting “La Primavera.”, Findikoglu imparted the message of love through the final garment. “La Primavera” is an allegorical celebration of spring, particularly illustrating the kindling of love and its fruition in marriage. At this time, Botticelli turned away from Roman Catholic iconography and ventured into Greek and Roman mythology. This is evident in the appearance of Venus, the Roman goddess of love and beauty. In the centre of

the painting. Eve, as seen in Figure 25 is “a representation of birth, of origins” and there is a striking similarity in both the garments as seen with the stitching around the upper chest area, accentuating the bosom. This can be seen as Findikoglu’s attempt to reclaim the meaning of empowerment by associating clothes with powerful women.

As the fashion and art world intertwine, it leaves us with newfound perspectives and opinions on the world around us - leaving us as its inhabitants to seek answers about everything. What makes artworks different from real things? The answer is to provide a “historical narrative” (Carroll 256) when classifying them. Findikoglu aptly stated that apart from the body, fashion is about the “construction of meanings that influence actions and conceptions and how it can challenge cultural meanings”. Taking inspiration from religious iconography, the Renaissance paintings and the spiritual realms, she has successfully translated them into several diverse collections upon graduating from Central Saint Martins.

This establishes the art status of her garments as it has connections to previously acknowledge artworks and practices. Through a medium like fashion, Findikoglu has been able to incorporate messages of non-conformity, enlightenment and equality, without the need to be subtle. The influence of art on fashion has produced a complex work of art that exists to be a “cultural phenomenon, an aesthetic medium for the expression of ideas desires and beliefs circulating in society”. (Wilson 3)

Word Count: 3103 words

WORKS CITED Wilson, Elizabeth. Adorned in Dreams: Fashion & Modernity. 1985 Berger, John. Ways Of Seeing. Penguin, 1972.

Carroll, Noel. Philosophy of Art. 1999.

Hollander, Anne. Seeing Through Clothes. University of California Press, 1993.John Wiley & Sons, 2015.

Entwistle, Joanne. The Fashioned Body: Fashion, Dress and Social Theory.

Burke, Edmund. Rights and the Heart: Emotions and Rights Claims in the Political Theory of Edmund Burke. Cambridge University Press, 1954.

Grovier, Kelly. http://www.bbc.com/culture/story/20170929-when-fashion-and-art-collide.

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IMAGES CITED Figure 1: Findikoglu, Dilara. Dilara Findikoglu Brand Logo. 2016. Dilara Findikoglu. Graphics. http://www.britishfashioncouncil.org.uk/designer_profile.aspx?DesignerID=3032 Figure 2: Findikoglu, Dilara. Look 3. 2016. Dilara Findikoglu Autumn/Winter 2016 Lookbook.

Photograph. https://www.streeters.com/news/dilara-findikoglu-autumn-winter-2016-lookbook.

Figure 3: Delvoye, Wim. Installation of “Tabriz”, “Shahreza”, “Arak”, “Karaj”,”Khermanshah” and “Bidjar”. 2010-2016. WIM DELVOYE: INSURRECTIONARY ART NOT SUITABLE FOR GENERAL AUDIENCES. Photograph. Sep 19 2019. https://www.art-madrid.com/en/post/wim-delvoye-insurrectionary-art.

Figure 4: Singer, Olivia. Turkish Carpet Overcoat. 2016. Dilara Findikoglu: Uniting Punk, Politics and Fashion. Photograph. May 27 2016. https://www.anothermag.com/fashion-beauty/8712/dilara-findikoglu-uniting-punk-politics-andfashion.

Figure 5/6: Rosolek, Chloe. Look 3 & 8. 2017. Chloe Rosolek Casting - Dilara Findikoglu SS17. Photograph. http://www.chloerosolek.com/dilara-findikoglu-ss17/0ikgb54cbs2np8hydeocrivs294bbc

Figure 7: Pee, Jvan. 18th Century Corset, Metropolitan Museum of Art. 2011. Re-membering Marie Antoinette: An Online Exhibit (2012). Photograph. 28 July 2011. https://sophia.smith.edu/blog/fys199-01f12/luxury-objects-in-the-age-of-marie-antoinette/cors ets/ Figure 8: Rosolek, Chloe. Look 13. 2017. Chloe Rosolek Casting - Dilara Findikoglu SS17.

Photograph. http://www.chloerosolek.com/dilara-findikoglu-ss17/0ikgb54cbs2np8hydeocrivs294bbc Figure 9/10: Bourgeois, Louise. Garment from the performance, She Lost It. 1992. https://www.moma.org/s/lb/collection_lb/allworks/allworks_sov_page-999.html.

Figure 11: Findikoglu, Dilara. Dilara Findikoglu Spring/Summer 2018 Collection Set. 2017.

Instagram Photograph. 19 Sept 2017. https://www.instagram.com/p/BZOHn8Pn8j5/ Figure 12: Bohl, David. The Masonic Chart. 1876. Lithography. 19 March 2015. https://www.flickr.com/photos/digitalsrmml/16677607759.

Figure 13/14: Findikoglu, Dilara. Look 5 & 19. 2018. Dilara Findikoglu Spring/Summer 2018 Collection. Photograph. 18 Sep 2017. https://www.vogue.co.uk/shows/spring-summer-2018-ready-to-wear/dilara-findikoglu/collection Figure 15/17: Findikoglu, Dilara. Look 2 & 20. 2018. Dilara Findikoglu Spring/Summer 2018 Collection. Photograph. 18 Sep 2017. https://www.vogue.co.uk/shows/spring-summer-2018-ready-to-wear/dilara-findikoglu/collection Figure 16: Triquetra Symbol. 500 BC. https://www.ancient-symbols.com/symbols-directory/triquetra.html Figure 18: Pentagram Symbol. 1800s. https://modernmythology.net/realpentagramhistory-64fdc64866a5 Figure 19: Chapman, Jake & Dinos. “The Milk of Human Weakness III”. 2011. Sculpture. https://jakeanddinoschapman.com/works/the-milk-of-human-weakness-iii-with-god-does-notlove-you-f-t-w-oil-on-canvas-and-god-does-not-love-you-f-m-l-oil-on-canvas/ Figure 20/21: Findikoglu, Dilara. Celestial Suit. 2018. Dilara Findikoglu Autumn/Winter 2018 Collection. Photograph. 19 Feb 2018. https://www.vogue.co.uk/shows/autumn-winter-2018-ready-to-wear/dilara-findikoglu/collection.

Figure 22: St. Mark’s Clock. 1496. St. Mark's Clock Tower (Torre dell'Orologio). https://www.atlasobscura.com/places/torre-dell-orologio-venice-clock-tower Figure 23: Stuck, Franz Von. Ceiling in the music room of Villa Stuck. 1896. Instagram Photograph. 13 Feb 2018. https://www.instagram.com/p/BfJE0p0gc2T/ Figure 24: Findikoglu, Dilara. Eve. 2018. Dilara Findikoglu Autumn/Winter 2018 Collection.

Photograph. 19 Feb 2018. https://www.vogue.co.uk/shows/autumn-winter-2018-ready-to-wear/dilara-findikoglu/collection. 1 Figure 25/26: Botticelli, Sandro. La Primavera. 1482. Tempera on panel. Uffizi Gallery‎, Florence.