Last September, as part of the Lichting 2022 presentations, Dutch designer Ruben Jurriën showcased a breath-taking portrayal of inclusivity and impeccable craftsmanship, receiving the first price for his collection ‘Pak van mijn Hart!. Ahead of his debut solo show during Amsterdam Fashion Week, we caught up with the Lichting 2022 winner to talk inspiration, ‘Super Femboyant’, and the humanisation of fashion.
In 2022 you won Lichting 2022. What opportunities have you gained from this experience and what are the biggest changes you’ve gone through as a designer?
During my design studies, I had a whole team of talented teachers that guided me and watched over my work. Not having that right now does make me more nervous. This time around, everything I’m going to showcase comes straight from by brain, and it’s hard to not be insecure when you’re solely relying on your own vision. The question: “is it going to be good enough?” popped into my mind many times. I do however believe that this rollercoaster of emotions is completely normal, and I’m going to do alright. A couple of days ago I was casting models for the show, and was overwhelmed by the amount of reactions I got. It’s heart-warming to see the diverse cast of people that want to become part of my world, and participate in my fashion show. The core of my work evolves around making fashion human again. All of these reactions confirmed that what I’m trying to do with this next presentation is important, and will showcase that everyone can be part of fashion. Since Lichting, so many people have noticed my work, including stylists and artists. It also harboured a lot of collaboration opportunities that I can’t say much about yet, but that’s just super cool! In general, it brought me a lot of love and support.
Recently you had the opportunity to give advice to first-year AMFI design students. What advice would you like to give to the designers who are up against the Lichting jury this year?
I was asked by AMFI to give lectures with the purpose of showcasing my journey and how I got where I am now with the tools I gathered and the opportunities I received. I think it’s very important to visualise the different ways to navigate your studies, and the options that your personal process can create after graduating. My main advice to starting designers is therefore always, to stay close to your inner core as much as possible, as that is what makes your work original. Your personal point of view on the world is your strength in the design process.
How does your love of comics influence your work? Where does this fascination come from?
I’ve always been very passionate about comics, and read many comics growing up. I fell in love with the art style and the way in which it visualises a story. In a sense my designs are also a visualisation of a story I want to tell, comics however, combine my love for illustration and Pop Art into building blocks for my next collection. I remember I started my comic about Toetie during my graduation, and used that as an inspiration for my Lichting collection. This comic was about my childhood plushie Toetie entering a corporate world where he had to follow certain dress rules, and becoming a superhero by rebelling against these rules. Now that he is in fact a superhero, it’s time for him to explore what that actually entails. By weaving a second chapter onto this original comic, my new collection ‘Super Femboyant’ came to being. Parallel to my clothing items, my comics are a way to communicate meaning in an accessible, fun and sweet way. They are both equally important, and inspire each other simultaneously. Comics have become a literal part of my designs, as I incorporate the drawings I make for them into prints for my clothing pieces.
“If a kiss can scare a bodybuilder, then love really is the strongest.” Your new collection is inspired by associations of the word “strong”. How do you define the word “strong” in ‘Super Femboyant’?
The collection is inspired by an experience of mine where I shared a kiss with my boyfriend in a swimming pool. This made a man who looked traditionally strong very angry. I felt weak and scared and a bit helpless in that moment, but after I let the experience sink in, I realised that it was my kiss that made this very manly man a little scared. In that sense love is actually very strong because it caused such a fierce reaction. From that moment on, I started to disconnect the word “strong” from its traditional associations and link it to my associations: sweet, round, soft, personal, vulnerable, and showing love to others. This translated in my collection quite literally as it follows the story of someone who is traditionally strong but transforms into someone ‘Super Femboyant’. I purposely used stereotypical associations of strong, such as broad shoulders or a six pack, and interpreted them in a flamboyant way. Instead of real muscles I used soft padding that’s squeezable. The silhouettes have broad shoulders, but made out of ruffles, and those ruffles are used metaphorically as a symbol of freedom throughout my collection. Because of their volume, which is not hard, static and straight, but soft, dynamic and sheer, my ruffles take up space in a loving way.
For someone who approaches fashion in a fun and humorous way, you are, under the layers of ‘Femboyant’ clothing, a real technical designer. How did you approach functionality within your new collection?
It’s really important to me that my clothes can be worn by everyone. The size adaptability factor in my designs is therefore a key component of my identity. For Super Femboyant, I implemented a lot of tunnels and welt pockets, that are connected by a rope and allow you to synch in the waist. I also started experimenting with jeans, that can be customised to anyone’s size through the creation of layers. This element is not solely functional, but completely part of the design. The jeans are comprised of multiple layers that can fold over each other and put into place with your specific measurements in mind. This makes the garment both interesting and mouldable to any body type. I also worked with a lot of straps, which are an add-on in terms of aesthetics, but also carry functional features. They can for instance make your sleeves shorter, your waist tighter, the legs of a pant shorter.
After Lichting, you were soon appointed as an advocate of inclusiveness. For someone who doesn’t like boxes but works in an industry where everyone is quickly put into one, what would you like to be known for as a designer within the fashion industry?
I don’t necessarily have a problem with labels, I do however have issues with the associations that come along with them. Those I would really like to break, and I think I’m doing a good job at that with my collections. In terms of the label “inclusivity”, I’m actually glad that that’s the label people have been giving me. Inclusivity is something beautiful, something I really fight for. Apart from that I would like to be known as someone who brings back some fun and passion to the fashion industry. I practice my craft, not so much in the interest of commerce but because it brings me joy. I want to make fashion less heavy, as sometimes this industry takes itself so seriously. In the end we’re talking about clothes. Ultimately, I want to be the designer that makes fashion human again.
What are your future ambitions as a fashion designer?
It’s important to me that my brand represents a bridge between couture and ready-to-wear. I want to continue making clothes that are wearable and approachable. I wouldn’t mind being showcased in a museum one day, but eventually it will always make me happier to see my designs on someone I pass in the street. Whereas my previous collection was a showcase of my signature design style, this new collection represents a richer, more refined version of what I initially showed during Lichting. I think my main goal is to keep experimenting and elevating the identity that is already there.
