Saturday 3 December 2022

New Fashion Narratives - Marres - FASHIONCLASH Festival

New Fashion Narratives #1 @ Marres - House for Contemporary Culture, curated by FASHIONCLASH

New Fashion Narratives exhibition at Marres consists of a multidisciplinary selection of both young and established talent with a link with the Netherlands. FASHIONCLASH signals a growing need among Dutch designers to contribute to a healthier fashion sector and a better world. This critical, research-minded and hybrid generation of fashion makers engage themselves in the transformative role of fashion in relation to social issues and propose alternative fashion practices and narratives.

During this three-day hybrid (on- & offline program) festival, a new generation of designers and performing artists from all over the world are given the opportunity to show their work to a broad (inter)national audience. The program with exhibitions, performances, talks and fashion film screenings and awards, showcases projects that explore, contextualize and celebrate contemporary fashion culture.

During the festival, work by more than 50 emerging and established designers and artists from different countries around the world was on show.

Teresa van Twuijver & Studio de Maan, Extended, Lena Winterink, Bobbine Berden Design, Wei-Chi Su, Antoine Peters, Space For Fiction (SFF), Guerline Kamp, Atelier Dasha Tsapenko

Watch the exhibition here and hear designers speak about their project:

Teresa van Twuijver & Studio de Maan
Zaankogerland 2090: Zaans Regional Dress after the Worst Thinkable Flood

‘Zaankogerland 2090’ is a polder science fiction story. It is an experiment in the production and processing of textiles and clothes on the fictional island of Zaankogerland, seventy years in our future. The research includes wasted and repurposed materials, digital designs, zero waste patterns, digital manufacture, handmade crafts and innovative manifestations of homemade clothing and regionally developed styles, all based on three guiding principles: 1. From sustainability to durability. 2. Sewing in a post-digital (born-again analog) context. 3. Regional dress in a futuristic perspective.

Teresa van Twuijver is an artist, designer and storyteller. Her focus is on textiles for everyday use, traditional and emerging (digital) experimental technologies in fabric manufacturing, new (organic) textile materials and historical dress. Studio de Maan are Martin Boverhof and Anne Gentenaar. They have been a creative team at Studio de Maan since 2015. But already since the end of the ‘90s they are on an artistic and cultural journey of discovery through music, beamers, cameras, video effects and digital media.

Developed in collaboration with TextileLab Waag Amsterdam. Spacial projection design: Studio de Maan. Soundscape: DL Sounds. Music: Alfred Gupstra. Financed by Creative Industries Fund NL and Pictoright Steunfonds. Many thanks to historical costume group Zaanse Kaper, Klaar van der Lippe (Buro Spelen), Minke Draaisma van Terschelling and Forbo Group.

Extended collaborates with the Future Materials Bank

Within the framework of ‘Extended’, an educational program initiated by Marres and Jan van Eyck Academie, a team of teenagers and young adults will dive into the Future Materials Bank to learn more about sustainable art and design practices. Guided by an artist, they will develop accessories and other design elements by using environmentally friendly, natural materials and show that fashion can benefit from ecologically mindful choices.

Extended is a project co-developed by Marres and an already existing Jan van Eyck Research & Education department. Extended encourages adolescents to engage with urgent societal topics revolving around the climate, sustainability and inclusivity. The project is generously supported by FONDS21.

In collaboration with JvE Future Materials Lab and Marres Kolkate Run in the Alley under guidance of coach Anneke Haane.

Lena Winterink
Personal Patterns

‘De Eendagszaak’ (One-Day Business) is a Cascoland initiative in Amsterdam Nieuw-West, where locals can try out their business-idea for one day a week. Lena Winterink asked De Eendagszaak-entrepreneurs, all engaged in dressmaking, about the objects that are most precious to them. Using photos that she took of their objects, and with their stories in mind, Lena Winterink designed a digital print on fabric for each businesswoman. With their personal fabrics, each entrepreneur has designed and made a garment. The collection represents a piece of identity of each woman, and at the same time spotlights the designing and dressmaking skills in the Eendagszaak.

The makers are: Harjinder, Latifa, Sanae, Khadija, Soumaya and Josta.

Lena Winterink researches and develops new concepts for the materials we surround ourselves with, both wearable and for interior use. She researches societal themes, such as sustainability, globalisation and social cohesion. Her aim is to make these themes understandable and literally tangible. Not starting with the large and complex, but by unraveling something apparently small, she discovers elements recognisable to everyone. This translates into narrative designs, in which textiles play a leading role. With her work she shapes new perspectives to interact with our environment and the materials we surround ourselves with.

Personal Patterns of De Eendagszaak is a collaborative partnership by Lena Winterink and Cascoland.

Bobbine Berden Design
Real Fake X Strolling in Grandmother’s Clothing

When do garments become valuable and what does a piece of clothing say about their owner? Experience the colourful celebration of old garments, but with a new look. The crossover ‘Real Fake X Strolling in Grandmother’s Clothing’ presents fragments of colourful garments crisscrossed in a meadow of life stories.

Bobbine Berden is a visual narrative designer, interested in the relationship between consumers and clothing. She playfully translates her research into autonomous installations made of sustainable textiles and launched her label ‘REAL FAKE’ in 2022. Bobbine aims to illustrate the world from various perspectives. In addition to studying the relationship between consumer and garment, she also pays attention to the concept of re-evaluation. She challenges the contemporary fashion system to design in new ways; where time, quality, pureness and (emotional) sustainability are at the core.

Wei-Chi Su
Centring the Vomit

“How have you struggled with how to dress? Have you had to adapt or change yourself in order to fit in? Has what you wear ever made you feel rejected or alone? How did that experience make you feel? How did your body feel and react? ‘Centring the Vomit’ is a project that sets out to offer a decolonial approach for challenging the cultural hierarchy in fashion design education. Within the project, I aim to provide people, especially fashion students, with a self-organised educational method, and subsequently raise awareness of the dominant Eurocentric perspectives within fashion design education. By adopting feminist sensory approaches, that emphasise the role of lived and embodied experience, I reorient seemingly universal aesthetics towards a more personal approach, focused on aesthesis. My research takes several shapes: it is communicated in a handbook, a series of workshops called ‘Aesthesis ≩ Aesthetic’, as well as sensory documentation of the workshops.”

Wei-Chi Su is a critical fashion practitioner from Taiwan, based in Arnhem for the MA Critical Fashion Practices at ArtEZ University of the Arts. Her works connect theories and practices which are driven by personal care about equality of all kinds. She explores how to redesign Western-dominated fashion educational practices and its effects on colonial aesthetics. She believes that recognising the differences will give us an option to confront the classification and ranking of people and regions which are the cornerstone of colonialism.

Antoine Peters
A Space Garment at Marres

“My contribution is a work-in-progress, since it will be a newly created 'Space Garment' especially created for FASHIONCLASH and Marres.”

Clothing is so fascinating because it’s close to the body, and has the power to influence your movement, feeling or surrounding, but at the same time it doesn’t has to be functional at all. Antoine Peters investigates this by means of textile sculptures, optical illusions and site-responsive clothing which extends outside the body, literally blending with the space. Clothing – everyday items and the ultimate universal visual language — is warped, stretched, repeated, cropped and reconfigured in many ways, breaking through the traditional relationship between spectator and object, disrupting the ratio, with the goal to cause a delay, imbalance and change of perspective. Counterbalancing consumerism and adding awareness, an emotional re-valuation of the (too many) clothes already out there, yet at the same time questioning personal space and intimacy.

Antoine Peters is a fashion designer who started his career on the catwalk. Nowadays, his expressions shift within fashion, art and architecture, in which the relationship towards clothing and the human body are a binding factor. Antoine Peters collaborated a.o. with United Nude, Eastpak, Kuyichi, Forbo, Little Indians and Karlsson. His work could be experienced at a.o. Museum Boijmans van Beuningen, Zeeuws Museum, OCAT Shanghai, New Orleans Museum of Modern Art and MoPop Seattle.

Space For Fiction (SFF)
Posthuman-The contactless nomad

‘Posthuman - The contactless nomad’ is a story about a new human being that emerged in a world where extreme climate change has led to desertification. This project is based on the speculative scenario and the imagination of how garments will evolve and how their social meanings and relationships will be changed when humans confront extreme environments where the act of touch is restricted. 'Posthuman - The contactless nomad’ aims to explore alternative values and materials through future-oriented design approaches and rethink contemporary perceptions of consumerism, environmental, and ecological matters.

Space For Fiction (SFF) is a Berlin based design studio working with a set of clothing and artistic objects founded in 2022. In a contemporary society, where facts are increasingly framed as fantasy and fiction presented as reality, we explore experimental narratives in a constant state of flux. Combining contemporary issues with hands-on practices, (SFF) creates alternative voices and perpetuates societal, political, and ecological matters.

Guerline Kamp
Asse se sassè

‘Asse se sassè’ is about the struggle that Guerline Kamp experiences with her cultural background as intercountry adopted child (from Haiti), and it shows the journey to her cultural identity in an abstract way. Living between two worlds creates a certain cultural instability. Can a new self-created reality provide the stability that’s missing? The struggle that takes place during this quest is visualised by deforming the monobloc chair. A chair that normally provides support is now unstable and damaged by crushing. It's estranged but still recognizable from certain perspectives.

Guerline Kamp is a fashion designer who is born in Haiti and adopted by Dutch parents at the age of three. She gets inspired by colourful abstract art and by her cultural background despite her limited knowledge of her native country. The illustrative childlike feel of her work reflects her first years of life in Haiti and so also part of her childhood. Her use of re-use is more than just a sustainable strategy, it’s a reference to groups that have no other choice than using that what is left. Recurring themes in her work are cultural identity and abstract art.

Atelier Dasha Tsapenko


‘MYCouture’ combines manual yarn manipulation methods such as knitting, felting and tufting with research in microbiology, aiming to adapt these processes to the mycelium growth patterns. ‘MYCouture’ is created in a partnership with non-human collaborator: Gilled Polypore Fungus (T. Betulina). Fibers derived from Industrial Hemp (C. Sativa) processed in diverse yarn formats are offered to the fungus as nutrition, at the same time proposing it the growing direction. A capsule collection of grown garments, each representing a specific yarn manipulation method. embodies a mutually defined relationship between 2 designers: a human one (knitter, tufter, felter, weaver, etc) and the growing fungus.

Dasha Tsapenko (UA, 1992) is a bio designer, who works with elements of fashion, art and material research. She investigates alternative production processes and (re)designs daily routines around the body and its dress, deriving inspiration from symbiotic relationships in nature. Dasha collaborates with various non-human species like fungi and (edible) plants. These collaborations result in grown garments, tapestries and textile pieces, while the process of creation aims to manifest value above profit, circularity above linearity, and interconnectivity above anthropocentricity.

All images are by Laura Knipsael

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