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YOHJI VAN DER AA
SABELA TOBAR SALAZAR
AMBER A.A. VERSTEGEN
no show: backstage
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no show: designers
People who don't give a damn about prevailing fashion rules and who are averse from trends fascinate me. They are capable of showing their own style or, rather, their own identity through their clothing. This results in a high degree of authenticity. Fashion has become far too homogeneous, causing it to grow further removed from wearers. The space for displaying a unique identity has been lost.
This is why I looked to develop an approach aimed at realising an array of archetypes, which has resulted in the unpretentious Synch. collection. For one thing, it allows for unlimited combining. By reinterpreting these icons through clever material use, design and cut – without the loss of basic elements – a much more casual image is realised. This approach ensures that the eventual product provides the wearer an offhand attitude. The coats and jackets lack elaborate lining, which gives the ensemble a nonchalant yet dressy feel. The looks of the collection consist of wide, high-waisted pants, shorts, oversized coats, shirts and knitwear, which contributes to a modern silhouette.
Yohji van der Aa graduated from the Utrecht School of the Arts (HKU) in 2009. During his Bachelor Fashion Design, he did an internship with Monique van Heist. Following his graduation, he lived in Berlin for six months, during which he did an internship at Lala Berlin. Back in the Netherlands he did an internship with Viktor & Rolf Monsieur, after which he enrolled in the ArtEZ Fashion Masters, with a focus on Fashion Design.
The beauty of constructed fusion
For me shoes have always been the perfect combination of fashion and design. As a shoe designer I am interested in combining these disciplines, in order to explore the fascinating possibilities and inspiration of shoes. This combination is reflected in my collection in the pure and geometrical forms, carefully crafted in materials such as metal and wood to achieve their beautiful shapes.
The actual construction of shoes serves as source of inspiration for my collection. It concentrates on three elements which make a shoe complete – silhouette, texture and structure. Silhouette is about forming the profile of the shoe; the focus is on the powerful clean lines that define the unique sculptural shape of shoes. Texture is based on a graphical sequin technique, which gives a lively character to the shoes; the ornamental sequin square is like a piece of jewellery in the shoe. Structure capitalizes on illusion to play with how the shoe looks. The "missing" pieces in the shoes make you wonder how it is possible that they are wearable at all.
Jenna Lievonen graduated with a BA in Shoe Design from the HAMK University of Applied Sciences in Finland.
0035 8 408 364 344
We are faking identities on social networks, spreading fake news on the internet, buying fake stuff, fake orgasms, fake the colour of our hair, fake our own body, creating and buying fake art, we fake love and we even fake complete relationships. Faking and copying just reflect our contemporary society. By copying each other we have started to become the same. Did we turn into an army of clones after all? Do we fake our entire lives? Is it more fake than real outside? Does it make any difference anymore? Why should we still pretend to be original when we are all copying and faking? Fake is part of our daily lives, so better face it instead of avoiding it.
To visualize the concept of fake_me, prints are used which make you look twice to find out whether something is fake or real. If this strategy is aimed at creating an illusion, the fabrics and cuts were also designed to play with the imagination and thoughts of the spectator.
Matthias Louwen was born in Germany in 1986. In 2005 he started studying fashion design at the Utrecht School of the Arts (HKU). In 2009 he did an exchange study at the Metropolia University of Applied Sciences Helsinki and an internship at Scherer Gonzalez Berlin. After graduating from the HKU and showing his Bachelor collection at Lichting 2010 during the Amsterdam International Fashion Week, he enrolled in the ArtEZ Fashion Masters in 2010.
My passion for shoes can be traced back to my fascination for femininity. Heels have the power to transform even the manliest of men, and give them a feminine touch. More than any other fashion item, shoes are a symbol of femininity and that is why I like to design them.
My collection is the result of my own personal search of what it means to be a woman. Femininity and the performance of seduction are a common thread in my collection. I design for strong, autonomous women who don’t shy away from being sexy, but embrace their sex-appeal as a big part of their womanhood, just as they embrace their intelligence and strength.
Through my collection I try to balance those characteristics and create shoes that challenge the set, stereotypical rules of femininity. My collection is raw and graphic, yet refined at the same time. My shoes have a strong and streamlined silhouette. I like to use functional elements as decorative elements, which goes hand in hand with my love for hardware. The prints and materials used in my collection are all created to accentuate the total outlook of the shoes.
After finishing a BA in Fashion Design at the Willem de Kooning Academy in 2007, I did a course in Industrial Footwear Design at the Dutch HealthTec Academy, before enrolling in the MA Shoe Design at ArtEZ Fahion Masters. After graduating I have the ambition to work internationally for different shoe brands and fashion labels.
We live in a constant cycle where everything appears to be different all the time, but as time goes by we find ourselves back at the same point again. My collection centres on the lifecycle of jellyfish, which is one of the most complex organisms found in the natural world. This challenged me to study jellyfish and learn more about how they relate to human beings. Apart from the beauty of these animals, there is a lot of darkness hidden within them. But what interests me the most is the metamorphosis that takes place during their life.
My intention was to create an evolving collection using jellyfish as a metaphor and develop the feel they trigger by relying on strong shapes and different colours, textures and materials. Jellyfish are soft, gelatinous, transparent with colours inside and around, and they have tentacles.
In the context of this project, the studies by Lefebvre about pattern repetition proved quite useful as well. Specifically, they helped me to classify and gain a better understanding of the mundane events of everyday life.
Sabela Tobar Salazar was born in Spain in 1984. In 2008 she graduated in Fashion Design from Istituto Europeo di Design in Madrid, and she directly started an internship with Spanish designer Jesus del Pozo. Soon after she moved to Paris and worked first at L‘Eclaireur, a French store, and then at Arnys, a men’s luxury brand, doing a second internship in the Haute Couture atelier. She moved to the Netherlands to enrol in the ArtEZ Fashion Masters in 2010.
Jessy says, "Booo!!!" :)
The starting point for my collection is the black and white photograph "Candy Cigarette" (1989) from Sally Mann, which portrays her own daughter Jessie. What I find interesting is that there is more than one personality in this picture: a child with her own purity, a child that is pretending to be an adult with a cigarette between her fingers, a child that is a mirror of her own mother. Of course there is the taboo element that children are not supposed to smoke, and the photographer explicitly plays with this taboo.
In the process of developing my graduation collection, I also began to play with this theme, which was motivated by the contrast between the sense of growing up in a naive way and the need to gain access to and live in the real world of adults. How do we experience becoming an adult? I investigated in particular the designs of Asian designers. Most of them did not create a ‘woman’ in their brand or image; the femininity in their collection seemed hollow, like that of a puppet or a doll. The central theme of the designs in my collection is the transition from doll to real person - from child to adolescent.
In 2009 Gladys Tumewa earned her BA in Fashion Design from the ArtEZ Institute of the Arts. To focus more on her design skills, she continued her study at the Fashion Masters, focusing on Fashion Design. She will graduate from the ArtEZ Fashion Masters this year.
0031 6 41 118 589
"Ice, Ice, Baby", "Imprisonment of the continuously shifting", "Original Sin(suality)" - three graduation projects that thematize the concepts of contrast and metamorphosis. For this collection, I found inspiration in a formal language, which captures elements of fleetingness, instability and the dynamic of how something can transform into something else, such as the shift from good to evil.
The starting point of the first two concerns is the encaging of that which cannot be encaged by definition: a fleeting thing such as water solidified in ice or in fact something instable and temporary such as light. My choice of materials allows me to demarcate the intangible, whereby the concept is captured in technology as a framework. I started from the use of modern technologies such as 3D-print and LED-lighting (luminex-fabric).
My third concern conceptually relies on early-Christian images of women, centring on the contrast between good and evil. This contrast has a large influence on Western notions about temptation and redemption. The figures of Eve, who brought down original sin on us, and Lilith, the first "feminist" figure in mythology and often represented as evil, inspired me to do designs that express both force and vulnerability.
In terms of design technique and use of materials, I prefer a formal language which embodies this force and vulnerability at the same time: the fragile dimension of a 3D-printed heel, which is still strong enough to carry a woman, or the ambiguous nature of bird feathers, which radiate power and autonomy as well as lightness and vulnerability. Eventually I try to define the ultimate temptation of a woman who has the courage to be both "Femme Fatale" and "Femme Fragile".
Amber Ambrose Auréle Verstegen earned a bachelor degree in Theatre, Film & Art Direction at the Gerrit Rietveld Academy, Amsterdam, in 2008. This year she will graduate as one of the first generation from the Master Shoe Design at ArtEZ Fashion Masters. In addition, she is enrolled in the Master in Art History at the University of Amsterdam, where she works on her thesis about the cross-fertilization between fashion and art.
0031 6 404 307 28
no show: about
NO SHOW: A SHORT FILM BY ARTEZ FASHION MASTERS AND TEAM PETER STIGTER
For the new crop of fashion and shoe designers graduating from the Fashion Masters of ArtEZ Institute of the Arts, Team Peter Stigter developed the film NO SHOW. This short film presents the fashion show which displays the students' graduation projects in a sparkling setting of both backstage and onstage visuals. Better than a live fashion show, NO SHOW is thus the perfect springboard for an international fashion career.
NO SHOW is on view during the exhibition Basic Instincts, Dutch fashion in context by Premsela, The Netherlands Institute for Design and Fashion and Museum for Modern Art Arnhem (MMKA). Exhibition: Saturday 2 June through Sunday 29 July 2012, Eusebiuskerk, Kerkplein 1, Arnhem.
The NO SHOW concept and realisation has been made possible by Team Peter Stigter (Peter Stigter, Niels van den Top, Joris Bruring, Jonathan Loek, Inez Koopman, Lisa Klappe) and Mascha van Zijverden of ArtEZ Fashion Masters. NO SHOW video music by Joost van Bellen and Sander Stenger of Star Studded Studios. Production, hair, make-up and models by House of Orange.
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