What traditionally sets creatives that made their start at Rietveld apart is their experimental nature, and even more so, their clear incentive to defy the traditional frameworks of fashion as a craft and a vehicle of aesthetics. In the context of what a Rietveld Fashion graduate is expected to deliver, this year’s horde of designers performed well over expectations, and showcased not only a high level of Rietveld-ism, but a certain sensitivity in terms of craft and technique.
That said, it wouldn’t be a Rietveld show without a decent amount of nudity, noise and absurdity. Before the work of Jakob Hodel, Fleur van Heezik, Sophie Huizinga, Tom Huijben, Ruben Janssen, Hanne Johne, Vera Lelie en Emma Milicevic, the first- and second-year students served up a spectacle of their own that felt true to the Rietveld spirit. Meanwhile, the massive space got broken up by chairs with occupants that had been sitting there long before the guests arrived and remained seated when the first- and second-year students showed off their work. Garments that attached itself to the chairs like sleeves, literally anchored the wearer to their seat. Stuck in a simulation of a waiting room, the speakers mimicked a caller that had been put on hold; “there are 5 callers waiting” echoed through the room, whilst the ones waiting detached themselves from their chairs and walked away. Vera Lelie blurred the lines between the space and the garment, as the designs featured extensions of bodily actions you might pursue in a waiting room, such as knitting or reading a book.
Following Vera, was the collection presentation of Sophie Huizinga. STOOFPEER challenges the distorted view on bodies within the fashion industry by translating food into wearable objects, eventually showcasing an act of self-love, and a love for food at the same time. The star of the show: a strawberry, was interpreted in different garments, and oftentimes occupied the shape of a heart. Strawberry bags and pillows were held by models with primary red hearts painted on their faces, wearing hot pink bodysuits that were hidden behind the enlarged fruit creations.
Tactility was a high priority for this year’s graduates, manifesting in experimental materials and material manipulation, as well as unique sewing and printing techniques. Ruben Janssen developed his own prints using the Conway’s Game of Life model, which transformed the silhouette of his grandmother’s wedding dress into abstracts forms, developing into patterns of small stripes and spots.
Exploring the role textiles play in the ritualised staging of football, Jakob Hodel developed his own tapestry by manipulating the embroidery machine and mixing multiple techniques to create contrasting texturised ensembles. Displaying a modern version of the tournament, Hodel combined what seemed like elements from the middle ages such as dragons, with symbolism found in football elements such as guilds and sports attire, cleverly playing with contrasts of soft versus hard, and common associations with football. Gloves made out of scales with dragon-like claws and football helmets covered in a delicate pink lace, as well as shin protectors that were embroidered using red fabric, almost demonstrating a euphemism for blood, created a whimsical and otherworldly touch to the collection. The highlight of the show, a dragon shaped headpiece with dangling silver chains resting on a skull cap was just brilliant.
From medieval tapestries to Norwegian trolls, Hanne Haug Johne’s ‘The Secret People’ compared past and present queers with trolls from Norwegian folklore considering their shared history of belonging and unbelonging. For this unusual parallel Johne used traditional techniques and old crafts to create a layered and textured collection inspired by natural structures such as moss, which grew on the models’ legs and covered the sleeve of a white blouse, as well as seaweed that was used to fray the edges of a black dress. Looking beyond the long tails, elf ears and hairy nails, somehow Johne created a collection that didn’t feel gimmicky but rather incredibly desirable, and foremost intriguing due to the amount of detail that was put into each ensemble.
Whereas Hanne visualised the importance of clothing as a catalyst for (gender)identity through mythology, the following designers looked at the past and growing up to convey stories about identity and culture. Fleur van Heezik used her heritage as a “Jordanees” to tell a story of not belonging and described her presentation as a bizarre fever dream that transports its audience to a childhood filled with forgotten 1970s vintage and children’s television shows. Creepy doll faces subtly interwoven in pretty pastel ensembles and sounds of punk conveyed a sense of unease that contrasted with the cuteness of it all. Oh, and also human scaled dioramas that look like dollhouses, there was that too.
Emma Milicevic explored the complexities of bicultural identity by researching into the idea of a mascot as a good luck charm. ‘Does the Michelin Man eat Burek’ explores Emma’s own background as a second-generation immigrant from former Yugoslavia, and looks at the mascots she grew up with as symbols of memories and experiences, eventually referencing these good luck charms through clothing and prints.
Tom Huijben extracted elements of his experience growing up on a farm, an experience he wasn’t fond of back then, but cultivated a unique and personal view on his surroundings. The result is a collection that uses both original materials you would find in the industrial environment of a farm, as well as the architectural shapes you would come across. ‘Agriwear’ written on a tight cropped tube top and paired with blue cleaning gloves that featured ribbed cuffs, shorts with wide hips made out of insulation materials, and bag straps made out of a paint brush handle blended in nicely next to more soft features such as knitted bow socks.
© photos by Sanne Peper
