PORTFOLIO MARTIN ACROSS 2025 by Martín Across

SELECTED

PORTFOLIO

2011-2025

AW 25

Inspired by Raphael Ortíz Montañez's artwork "Ring Ring Rag-Time," our collection focuses on the complexities of existence and the challenges of contemporary life, particularly overpopulation. It presents a blend of fragmented moments that invite viewers to reflect on their own experiences.

The collection uses a muted color palette reminiscent of denim, highlighting authenticity and sustainability. The jacquard sweaters add a tactile dimension, encouraging sensory interaction and engagement. Each piece tells its own story, prompting exploration of different perspectives and the beauty found in the fragments of our collective experience. Overall, the collection seeks to deepen our understanding of the interplay between art, society, and the environment.

The silhouettes are thoughtfully crafted, emphasizing fluidity and movement, mirroring the ebb and flow of modern urban life. Fabrics are chosen for their quality and ecological footprint, with organic cottons and recycled materials playing a prominent role.

ECHO SWEATER → the distortion of identity

the self, split in two

Kntted jacquard—a woven illusion, layered dstortion.

Faces pulling apart, caught mid-separation. Repettion of form, but each version slightly altered.

What does it mean to be a duplicate of yourself?

Echoes are never perfect copies they fade, distort, break apart. A glitch in perception where does one face end and the other begin?

Twns separating, yet forever linked

A face repeated, but never the same

Deep forestgreen—dark, groundng, absorbing the distortion

Texture of knit creates depth, an echo within the material itself

Wool for warmth, but the print disrupts comfort—disorienting and hypnotic.

Graphical but organic—lke skin stretched over digital interference.

Brutalism in fabric form.

Heavy. Raw. Unapologetic.

Protection?Orrestriction?

stacked massing interlockingvolumes weightdistribution

The weight of the city, worn on the body.

Deconstruction - Reconstruction - Repetition.

of concrete - layers of textile

Pieces slotting into each other like concrete blocks A puzzle of fabric.

Layers

Stone. Steel. Felted wool. The textures of the city.

Fabric as concrete.

AW 25

Brutalist softness—where structure meets fluidity

Shell-like constructions that shelter the body

Geometry reshaped to follow movement

Draping denim like sculpted concrete

Denim as armor.

Technical drawing - En

Curved seams disrupt the rigidity of denim

The body moves, the structure follows

Architectural folds, but wearable

A shell—protective, yet flexible.

Raised seams, almost like topography on fabric.

Stitchwork acts as contour lines—mapping the body’s movement.

- Fabric with Memory - In motion

Raw edges, raw construction The garment is unfinished, yet complete

enim

Double contrast

stitching all along

"Soft structur

"Contour rawness. "

CODA PRINT-- the final passage, the last echo.

like wearing a cloud, but with structure. A sense of movement

A sculptural cocoon, warmth encapsulated.

Soft armor for the body Protection and embrace

Quilted like sound waves, layered like echoes.

A visual melody, a rhythm of abstraction.

Fluidity meets structure. Soft chaos.

Distorted reflections, warped movement

A print that feels like a memory dissolving.

light bouncing off water, metallic reflections, fluid textures

Soft blues, steel greys, muted neutrals

Sentinel print

Surveillance culture → who is watching? Who is being watched?

Thecityisanalgorithm—tracking, mapping,categorizing.

Machine-seen reality vs. human perception.

Meshassecondskinoverlalyedwthcotton canvasrawedgejacket

Human error vs. machine precision—where do they intersect?

rawedgecottoncanvasjacket &trouserswithcentralseams

Ethereal bodies, meltinginto space. Noise, movement, distortion.

Memory of a crowd—soft focus, half-erased. The poetry of motion.

Faceless crowds. Ghosts of the streets

Flatlay001

Flatlay009

silk fabric overlay

AW 25

"rhythmic chaos."

Backward Seams – Architecture, Rawness, Felt, Texture

Layers of material, like layers of a building

Stitching as an architectural line, breaking the expected.

Seams as texture, not just function.

Raw felt – warmth, depth, imperfection.

People in motion

Print – Moton, Tokyo Metro, Overcrowding

A city in motion A body in transit

Crowded, chaotic, but rhythmic.

Blurred faces, fastmoving figures identity lost in the rush

Photographing movement - capturng the flow of people

Digitally distorting the images - abstraction of transit

Printing on raw canvas - texture adds depth

Prnting on mesh - layerng motion with transparency.

Layers of movement printed onto canvas and mesh Public transport as a vsual language

Transit

AW 25

Thesound

o ft ouch?

reshaping identity?

Scanning faces, freezing expressions, Digital distortion – faces morphing, stretching, collapsing. Overpopulation - stacked, layered, overwhelming presence How much can a face take before it becomes something else? Multiplicity vs. anonymity. A portrait turned into a glitch.

Overlapping, compressed identity lost in the crowd

When does a face stop being a face?", "Digital decay.", "Imperfect cloning."

Scanned hands overlapping, craving connection?

Stacked heads - hierarchy or chaos?

Ear sculptures - faces dangling, unsettling but intimate. A body as an ornament. A face as an accessory.

AW 25

A face trapped inside glass Suspended Dstorted Suffocated

Frozen in time—warped, but preserved

2 Printing the Face

A digital self, reshaped and imprisoned

Translating the human into layers of plastc

A ghost of a person, molded by algorithms.

3. Folding the Face

Manipulating identity, breaking symmetry.

A face loses its autonomy—creased, bent, redefined

4. Entering the Glass Chamber

Encased, suffocated no escape.

1. Scanning the Face

Capturng expressions before they disappear.

A machine’s version of you—cold, precise,

Transparency as both protection and confinement.

A fragile shell, yet impossible to break.

The Concept: Identity as an Object

Can we ever escape our digital selves?

Final samples

Preserved like a relic, yet altered beyond recognition.

Where does the body end and the object begin?

Reflection vs. refraction—identity altered by material.

A metaphor for the body in the digtal age—scanned, saved, but never real

A face that is no longer yours

AW 25

SS 23

SPRING 23

This collection is about the feeling of getting carried away. It talks about a sensation of travelling through boundless landscapes and open spaces. An exploration of the human psyche in all balances of contrary forces and forms. There is a mix of an imaginary realism and childhood memories, and a feeling of levitation. An invitation to dream, limitlessly. In a way, it is recognising the invisible and the immaterial in an image rather than that which is pictured on its visible surface: an atmosphere, an emotion, a longing, that which resides in one's inner self and not in the material world. Sounds stretched to an echo, wide open spaces, and balmy tones which evoke feelings of supreme tranquillity and a relaxed distortion of time. It’s the precise moment when a puddle is created out of the force a stone creates. As if it were frozen in time. The collection delves into a mental process of dissociating from one's thoughts, feelings, memories and sense of identity. It talks about mental health explored from different perspectives. I immersed myself in everything related to South American culture (artists, architecture, photographers) to be able to proudly celebrate it and reflect it through the use of prints and garment proposals. Designs inspired by the ethereal. Garments which display technical utilitarian details for voyagers moved by colour and movement.

SPRING 23

FALL 22

AW 21

This collection is about movement: from situations, emotions and experiences that move us as individuals and as a collective; to the movement of wind and sea currents. Nothing is static; we are currently moving and being moved. Centre d on this notion and inspired by the force of nature, Martin Across’s collection investigates how fashion is intrinsically linked to these two. The models present a variety of utilitarian garments complemented by accessories that, like strong waves, have textures and materials that emulate the sensations of water breaking and ebbing away from their bodies and clothes.

Movement is also in play in the garments themselves through cleverly designed patterns printed in different materials that allude to the fluidity of sediments, colour, water and other natural motifs and techniques. Like a rupture in the tectonic plates that suddenly shifts entire continents, this collection employs fashion as a tool to generate a rupture in our current system. Defying the unconscious biases instilled in our collective psyche, it plays with gender fluidity through colour and silhouettes. His designs, inspired by the sediments, layers and minerals, are meant for fellow travellers, explorers of a higher consciousness. Curious voyagers moved by colour and transformation. Every piece is exquisitely handcrafted in Ecuador with local materials, reconciling our relationship with our planet, with how we produce and consume modern clothing.

AW 21

AW16 - LANDSCAPER

THE LANDSCAPER Inspired by a trip of roots to L rocky mountains of Ecuador, "The Landscaper" deals of all the elements found in the environment in the exposed proposal. Sediments, rocks, and fossi elements that are transferred within this collection. A which gives the impression that the person is Harnesses, carabiners, and rope serve as supplem explorer looking for a challenge.

Prints created based on algorithms that narrate t natural landscape, seen through a digital filter. A c the world of technology and the natural environm earthy and dusty colours which evolve, becoming an winter. Rigid body fabrics; felt, wool, and neoprene. overlapping forms that give the impression that the b out of its normal shape. (This collection was pres Fashion Week as the

AW16 - LANDSCAPER

GRADUATE COLLECTION

THE COLLECTOR "The Collector" rises through an exploration of feelings and sensations coming from the perception that a child has of the environment as he develops his mind. The idea is to explore how mentality can be so gullible; from the second we are born, everything surrounding us affects the way our personalities are defined. As kids, we observe our atmospheres and we experience the planet in endless ways. The purpose of the collection is to dress a man who can be confused for a child.

The way he articulates, the way he observes, and the way he perceives is the representation of the child. The Collector is a memoir of old abandoned objects and thoughts. Toys are a big element of extraction for they portray children and their approach to spending time. The shapes and colours both seek to represent elements of my collection that were essential. The Collector is about extracting the essence of innocence. It's about creating something that takes you back on a journey of exploration to a fantasy garden of lost childhood and gradually unfolds to a blend of maturity defined by the social influence that aims to change the perception or behaviour of individuals. Kids are ruled by hypothetical ideas based on fantasy.