DZHUS - AW 2015/16

DZHUS - AW2015
TOTALITARIUM

The concept of the A/W 2015 collection, TOTALITARIUM, derives from the technocratic cult propagandised by the totalitarian regimes of the 20th century’s first half. Terrific palaces and awe-inspiring monuments of the époque are haunted with the solemn spirit of industrialisation. The Utopian ideology glorifies an image of the working class heroine, so stern and so pure.
The outfits feature austere silhouettes, technical textures and greyscale palette. The geometrical pleats interpret architectural elements of Constructivism and Totalitaristic Classicism.
The garments are made of authentic working uniform cottons as well as fabrics typical of the era’s functional fashion, such as woollen knit and felt. Special finishing, such as raw hems and exposed seam allowances, some piped with elastic, accentuates the technological nature of the designs.
Every outfit expresses juxtaposition between total unification and strong individuality, which is a distinguishing paradox of the post-modern fashion.

DZHUS is a conceptual wear brand launched in 2010 by Ukrainian designer Irina Dzhus. Vanguard yet utilitarian, DZHUS’ visual identity derives from innovative structural solutions. The brand’s design concepts are based on interaction and transformation of construction modules, aimed to create new aesthetics of the form – unique and virtually archetypical at the same time, categoric but variable. Reserved colouring and technical textures are typical of Irina Dzhus‘ designs. Each piece carries a distinctive ideological message.
DZHUS is a vegetarian-friendly brand. All the products are made of violence-free materials.

www.irinadzhus.com

LOOKBOOK CREDITS
Photography: Olga Nepravda
Style, makeup & hair: Irina Dzhus
Model: Viera Stankeieva

Yugoslav Monuments by Jan Kempenaers

The Kosmaj monument in Serbia is dedicated to soldiers of the Kosmaj Partisan detachment from World War II.

Spomenik, The Monuments of Former Yugoslavia 
The brutalist war memorials found throughout the former Yugoslavia were weird enough when they were built in the 1960s and 70s. Today, separated by the end of an architectural movement and the disintegration of the country, they seem almost alien.
Belgian photographer Jan Kempenaers captured Yugoslav monuments as artistic objects in his book, Spomenik, named for the Serb-Croat word for monument.
Thousands of the monuments were commissioned by dictator Josip Broz Tito to commemorate the resistance against Axis invaders during World War II. The abstract style stood in contrast to socialist realism and also served a political purpose.
"Tito couldn't erect figures or busts in honour of generals because he didn't want to be seen to be favouring any ethnic group, for example a Bosnian general or a Serb war hero, so instead they made these things that didn't refer to people." 
Although the monuments, made of reinforced concrete, steel, and granite, used to be tourist attractions, they have receded into obscurity since the fall of the Soviet Union and the Yugoslav Wars. When Kempenaers told locals what he was photographing, he says they thought he was crazy.

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Photography © Jan Kempenaers http://www.jankempenaers.info

Monument for the Unknown Truckers at Manifesta 9

During Manifesta 9 graphic designers Stijn Segers and Niek Kosten work on a Monument for the Unknown Trucker, a tribute to the lost culture of the truckers on the parking lot in front of the coal mine buildings of Waterschei.
www.heimwee.org