ART IS NOT A CRIME
“To anticipate the future of cultural evolution, think about populations, not individuals, and certainly not yourself. “
In a visual complex world, it is important to emphasize the interconnectedness between the public space and the freedom one feels when engaging in the creative process in that environment. It is an individualistic activity without rules that ultimately creates a collective experience.
The powerful statement Art is not a crime was the name of a Henry Chalfant retrospective which evolves around 70’s and 80’s graffiti culture.
This collection consists of 12 silhouettes that are heavily influenced by the aesthetics and cultural references of streetwear. The original black and white prints originating from Ghana have been reworked with the help of a scanner and editing software creating modern patterns that have been both digitally printed and screen printed on stretch-jersey leggings, shirts, and dresses. Layering these classic sportswear pieces together with statements shirts and technical outerwear creates hybrids shapes that appropriate the sentiment of power one feels when creating art in the public space that is seen as forbidden.
This collection is a contemplation on the human desire to detect patterns and seek connections and meaningfulness in them. Our sensory processes recognize visual symbols and the way we interpret them is heavily influenced by our history and cultural familiarity with these symbols. Everything is a reflection of something else.
The collection consists of 6 silhouettes that show a trompe l’oeil play with sharp tailoring and geometry. The colorful textiles are digitally printed with abstract patterns that are generated using custom software. Using symbols as input and taking them out of their cultural context to explore the tension between originality and identity to defamiliarize the viewer while challenging him to seek new meaning in the abstract patterns.
Pattern recognition seeks to create an experimental future that shows that the creative process no longer rests with the individual. Adding up the application of geometric shapes, familiar forms, and tonal repetitions the designer creates dresses that show how we are shaped by our environment just as much as that we shape our environment.
ENCLOTHED COGNITION is a collaborative project from fashion designer Bregje Cox and visual artist Mark King. The collection is inspired by the behavioral psychology theory of Enclothed Cognition. Particularly how a garment’s symbolic meaning paired with the physical experience of wearing the garment combines to impact the wearer’s performance in everyday tasks. Enclothed Cognition is informed by King and Cox’s shared interests in
behavioral psychology, cognitive mapping, workwear, traditional Japanese garments, color, functionality, science fiction and future technologies.
The collection incorporates workwear, formalwear, military wear and traditional garments which leverages the inherent durability and functionality of these pieces.
Collaborating over two years Cox and Kind conceptualized, designed and produced the collection incorporating King’s mastery of environmentally derived patterns and Cox’s expert fashion design and tailoring with keen attention paid to cut, scale and shape. The collection features a wide range of layerable pieces that fit many contexts. Its bold surface patterns are encoded with reference to the built environment be it real world or digital. Each of the 13 patterns bears a unique title which speaks to the thesis of each garment.
The Enclothed Cognition collection seeks to empower others by bringing awareness to the interplay between the clothes we wear, the built environment, and the humans mind.
Our garments are all bespoke.
FANTASIES OF ANXIETY
An individual becomes truly aware of their potential through the experience of anxiety.
This collection uses the aesthetics of anxiety and it’s relating symbols to infuse existing believe systems with storytelling to create the connection needed to generate behavioral change. It is inspired by Kierkegaard’s concept of anxiety which states that the mere fact that one has the possibility and freedom to do something, even the most terrifying of possibilities, triggers immense feelings of dread.
The collection consists of 12 silhouettes that transition from ready to wear pieces like the Anxiety bomber inspired by the Buzz Rickson MA-1 clearly showing the influence of military garments into couture pieces like the Motherboard dress digitally printed and hand embroidered with custom laser cut mirrored patterns blending together handcraft techniques and technology. Other couture pieces with boundary-pushing construction like the Dataspace dress digitally printed with patterns that are computationally distorted create a defamiliarizing feeling freeing the spectator from the automation of perception. The color palette slowly fuses dark and dusty shades with vivid and optimistic tones indicating that one’s creative anxiety is to be used as a quality that contributes to being able to effectively realize projects.
“The great peril of our existence lies in the fact that our diet consists entirely of souls”
This collection is a reflection on the wisdom of the mountains and the resourcefulness of humans and it is inspired by the theory of animism which states that all people, animals and even geographic features such as mountains and lakes possess a spiritual essence.
Stone camouflage prints connect the animate and the inanimate with their visual complexity inspired by the structures and textures of stones, minerals, and mountains.
The collection incorporates modern statement pieces referencing both historic work wear and uniform details and research into the visual identity found in functional garments like the anorak.
Creating garments inspired by workwear generates a special though process that forces you to accurately control size, shape, and weight together with carefully choosing fabrics that will perform well under difficult circumstances. This helps to make garments with an emphasis on sustainability, high quality, and heritage which are key elements when designing the garments of the future. These different elements make it possible to tell an interesting narrative about personal identity in a global environment