tobosarulucatheodor
Vanitas
I integrated in a variety of techniques and colours the vanitas theme into my work as I associate the ephemeral flowers and the macabre symbols of death to the fashion industry and its evolution and revolution along the years. I chose to mostly represent female figures as I consider the dark undertones and the grotesque details to embody the elegance and refinement worth of representing femininity. However, the tribal and folkloric masks denote masculinity through the harsh lines and the stoic, savage atmosphere they instil upon the wearer in contrast to the feminine extravagance. The bee wing patterns and the flower theme generated through printmaking show the fugacious way of life. The works presented in this set are interpretations of the feeling provoked by the certainty of death and uncertainty about what follows. In Renascence art, vanitas was represented through motifs such as skulls, dead flowers, rotten fruits, smoke, watches or hourglasses. Perhaps the most iconic example of vanitas in art is Holbein’s work of art, “The ambassadors”, where an anamorphic skull in front of the characters represents the different perspectives from which death could be seen. Upon reading “Ways of seeing” by John Berger I became fascinated with death’s significance in art and I began researching this theme as it spread in all branches of creativity, among which fashion. I reckoned myself in the grotesque yet intricate style of Iris van Herpen and observed her creations, the way the exquisite dresses and costumes veiled the feminine figures, as well as the fine details which evoke within me a sense of turmoil. Thus, I came up with concepts which for me encapsulate the idea of vanitas: dark tones mixed with bright colours which I associate with specks of “life” in the void that represents death, abstract patterns reminiscent of flowers, sinister masks and dresses I consider to represent the peak of femininity through the flower petal appearance. Technically speaking, I worked in an array of mediums, from the patterns painted in acrylic or watercolour, to marker, printmaking, stamping, knitted wool stuck showing the physicality of the material, transferred images and collage. Through the slender, androgynous figures I express my opinion about how fashion does not have to be divided by gender, that men could be feminine and women masculine, that clothes are more than two categories – “pink” and “blue”. In death, we are all united. This collection appeals to inquisitive, open-minded individuals who keep questioning the surroundings, who are tortured by the existentialist wonder. This collection is dedicated to everyone open to new, fresh approaches to fashion and its limitless possibilities.
Vanitas
I integrated in a variety of techniques and colours the vanitas theme into my work as I associate the ephemeral flowers and the macabre symbols of death to the fashion industry and its evolution and revolution along the years. I chose to mostly represent female figures as I consider the dark undertones and the grotesque details to embody the elegance and refinement worth of representing femininity. However, the tribal and folkloric masks denote masculinity through the harsh lines and the stoic, savage atmosphere they instil upon the wearer in contrast to the feminine extravagance. The bee wing patterns and the flower theme generated through printmaking show the fugacious way of life. The works presented in this set are interpretations of the feeling provoked by the certainty of death and uncertainty about what follows. In Renascence art, vanitas was represented through motifs such as skulls, dead flowers, rotten fruits, smoke, watches or hourglasses. Perhaps the most iconic example of vanitas in art is Holbein’s work of art, “The ambassadors”, where an anamorphic skull in front of the characters represents the different perspectives from which death could be seen. Upon reading “Ways of seeing” by John Berger I became fascinated with death’s significance in art and I began researching this theme as it spread in all branches of creativity, among which fashion. I reckoned myself in the grotesque yet intricate style of Iris van Herpen and observed her creations, the way the exquisite dresses and costumes veiled the feminine figures, as well as the fine details which evoke within me a sense of turmoil. Thus, I came up with concepts which for me encapsulate the idea of vanitas: dark tones mixed with bright colours which I associate with specks of “life” in the void that represents death, abstract patterns reminiscent of flowers, sinister masks and dresses I consider to represent the peak of femininity through the flower petal appearance. Technically speaking, I worked in an array of mediums, from the patterns painted in acrylic or watercolour, to marker, printmaking, stamping, knitted wool stuck showing the physicality of the material, transferred images and collage. Through the slender, androgynous figures I express my opinion about how fashion does not have to be divided by gender, that men could be feminine and women masculine, that clothes are more than two categories – “pink” and “blue”. In death, we are all united. This collection appeals to inquisitive, open-minded individuals who keep questioning the surroundings, who are tortured by the existentialist wonder. This collection is dedicated to everyone open to new, fresh approaches to fashion and its limitless possibilities.