The CLASH House is a showcase and development program for a new generation of designers focusing on crossovers between fashion and other art disciplines, especially the performing arts. These fashion makers explore alternative ways of making and presenting fashion with an emphasis on ethical themes and storytelling.
Participants of The CLASH House are offered a coaching trajectory in which they are supported by theater makers Milou van Duijnhoven and Giovanni Brand. The aim of the trajectory is to stimulate the designers to experiment with presentation forms and to contribute to the renewal of the field and to create a unique experience for the public.
The performance of The CLASH House was presented by Ariah Lester on Saturday evening, November 26, during the 14th edition of FASHIONCLASH Festival.
You can rewatch the show:
all images are by Laura Knipsael
hosted by Ariah Lester
Elliot collective
A sculpture
The suit, a symbol of male power, stagnated in old traditions. What will happen when it moves and floats? To this day, the suit forms the base of classic menswear. But is it really that untouchable? How can we sculpt this ancient statue into something new? Can it dance? Can it play? Most of all, can it be something else in the eye of the observer?
'A sculpture' is a performance which will showcase research in which the suit will be taken apart and deconstructed, reshaped and played with. Why? Are we not all looking for new forms, changes in something that has remained unchanged for so long? By pulling the forms out of its context, perhaps we can even reshape its meaning into a new sculpture.
Elliot is a brand and collective founded by Joline Kwakkenbos and Britt Liberg. Elliot is a collaboration between fashion, art and performance. It is ongoing research on movement, space, colour and contrast. Within Elliot they create garments for everyday wear, unpolished, but with care. All garments are unique and made in the moment because Elliot rather creates than produce. They like to keep it playful and want to build up a world in which all Elliots can live. Elliot is innovation within nostalgia, where craft and intuition are most important. Elliot is for the wearer, not for time.
@elliot.collective
Dirk Vaessen
BRAVE HENDRIK'S NEW IDENTITIES Chapter 2
Dirk Vaessen researches identity from the perspective of his alter ego ‘Brave Hendrik’. Brave Hendrik pioneers social reconfiguration by reshaping movement which modifies posture. Posture modification challenges the status quo by exploring the contrast and fragile balance between identification and self-expression. This implements, reinforces, and reconnects internal structure by replacing social structure. The collection consisting of different postures and ways of moving, show potential identities of Brave Hendrik. All these identities were created from movement of fingers, hands and arms. The artefacts are merely there to maintain the right identity.
Dirk Vaessen is a Dutch artist, who entered a footwear course at the age of 15 in order to learn how to make high heels in his size 45 - back then they were almost non-existent because it wasn't “normal”. At Artez (BA Product Design) and London College of Fashion (MA Footwear) he developed further as an artist and activist against normalisation. In his works he always explores and reacts on the boundaries of our society and expresses himself in artefacts, film and photography in order to start a conversation about how human beings want and can be human.
@atelierdirkvaessen
Niko Marković
dad, I'm chain-smoking my tobacco allergies away
‘dad, I'm chain-smoking my tobacco allergies away’ is a performative installment that embraces the accidental and imminent mistakes as a design method. “A group of performers is making cigarette burns on garments they are wearing, produced from leftover linings and fabrics from my grandparents when they used to sew for companies in Paris. The symbolic ritual emphasizes pain, destruction, and healing and is constructed and told through my own personal history with tobacco, from strong allergic reactions to addiction to recovery. Cloth and skin are symbolically interchangeable, while both organic and non-organic damage is a monument to the struggle overcome with compassion and acceptance.”
Niko Marković’s artistic practice aims at creating and dealing with garments outside of the system of fashion, discovering the meaning of clothing not through the direct signification processes, nor through its 'economic' or 'sign value', but in its symbolic potency. Furthermore, they want to emphasize the importance that the intersection of class, race, and gender plays in our perception, behavior, desire, and relation to the objective world. Sustainability is seen as a radical project in an individual's ethics. With their artistic practice, Niko rather creates methods of approaching clothes than make desirable and consumer-ready products.
@niko__markovic
Maya Kaplan
Human Marionette
Based on questions about freedom and humanity's right to operate independently and uniquely in the world, despite systems and limitations around us, Maya Kaplan approaches this project as marionettes with limited control over their fates. She designed a series of three human puppets presented as a show, which includes costumes and innovative accessories that shape the character's ability to move. The designs range from organic to mechanical. All parts are screwed into the garment serving as body shells and are interchangeable. Traditional craftsmanship was combined with innovative technologies such as 3D modeling and scanning to create a perfect fit. The patterns are taken from childhood paintings that have been manipulated and distorted and reflect an individual's exposure from infancy to the reality within which they will grow and live.
Maya Kaplan is an Israeli-based fashion and accessories designer. In her designs, she connects her two passions. Both an acrobat and a designer who creates innovative accessories for movement and performing arts. The design and manufacturing process of her works combines traditional craftsmanship with innovative digital technologies to create durable, long-lasting pieces that are also comfortable and accurate to the specific body and need.
@maya_kaplan_
Katharina Spitz
Play Harder
‘Play Harder’ is an improvisational performance negotiating boundaries of play, fashion and performance-arts, involving 5 performers, 6 dynamic looks and a toolbox. It’s a collaboration with StichtingTriplets, an Amsterdam-based performance studio. ‘Play Harder’ explores the strained relation between work and play as a critical perspective on contemporary fashion-practices. The performance was developed by applying the unconventional design-process, characterised by playful interventions, onto performance-making. We play with garments and each other to recreate our communal expression recurrently. The performance aims to question power dynamics between bodies and objects while portraying play-aspects like competition, drama and the dark side of play.
The work of dressmaker and designer Katharina Spitz aims at the untangling of our social fabrics through matter, form and spirit. Through crafting and theoretical research, she seeks ways to open new perspectives of being in a world suffering from pollution, inequality and alienation. With her work, she aims to understand social conflicts of our time and translates them into works that make these issues more accessible. She’s inspired by how women give themselves a voice through working with their hands, amongst others. Within her design-processes collaboration is as important as spontaneity, precision and playfulness.
@kathakathak
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