The final project, ‘The Wall’ (2023), was made in collaboration with FASHIONCLASH within the context of the FASHIONCLASH Pop-Up Atelier. The multimedia installation consisted of two videos and an installation known as ‘The Fitting Room.’ It was exhibited at the Centre Céramique, alongside pictures published on my website and the Instagram project.

The Graduation Strategy

At the beginning of the project, it was challenging for me to create a framework without conducting theoretical research and formulating a research question. This was not my typical process, and it caused some initial difficulties. However, I adapted and learned the importance of developing strategies that balance exploration and specificity effectively.

To read the full version of my Graduation Strategy: https://docs.google.com/document/d/1yU5VAwlXxaK43N_JlUD4MK134LcT5jQX/edit?usp=sharing&ouid=113230592717854177285&rtpof=true&sd=true

The documentation showcases the progress of my research and the evolution from the graduation strategy to the realization of my exhibition, highlighting my journey. It’s proof of the project’s growth, development, and refinement, resulting in a more powerful and transformative artistic expression.

Therefore, I spent my summer delving into research and searching for inspiration, as I tend to get lost in research before creating a structure.

Google Drive – Primary Organizing Tool

I use Google Drive as my primary tool for organizing and documenting my projects and research. You can access this aspect of my work by clicking on the provided link:https://drive.google.com/drive/folders/1QZMV_emUdgvHjPuVI9T1Gmzw-ofbSDOJ?usp=sharing

For each section, you can access my writing documentation and research by clicking on the Google Drive link provided.

The Summer Research: Framing the Study’s Foundation

https://drive.google.com/drive/folders/15y0QiWbgCC1l5S03jytwW2p7u3dywdoC?usp=drive_link

In embarking on the journey to The Wall, I actively engaged in critical fashion practices anticipating my applications for a master’s in this field. This endeavor aimed to bridge the gap between my current studies and a future master’s program. During the summer, I immersed myself in various sources of inspiration, such as podcasts, literature, and discussions with my external coach, Branko Popovic, co-founder and director of the FASHIONCLASH foundation, who offered valuable feedback and insights. To further inform my research, I delved into the work of master’s students in fashion-related fields such as Central Saint Martin, Parsons School of Design, NYU Costume Studies, and ArtEZ Critical Fashion Practices. By examining their focus subjects, I sought to identify areas of interest that resonated with my interests.

When starting a project, I always start by identifying current research, then selecting a specific point that seems less considered. I complete existing research while innovating through theoretical and artistic research. With this project, my goal was to create a unique research framework to bring new perspectives to the field of fashion study.

The Position Paper

https://drive.google.com/drive/folders/1TgXKJ1p8OYH21XF5PkHx2tk7opmoPBAP?usp=drive_link

By the end of the summer, I had developed a solid foundation, encompassing keywords, research questions, and a general framework that would guide my position paper.

The position paper became a crucial milestone in my research journey. It involved delineating my research methodology and detailing the different phases of my work. To enrich my understanding and gain diverse perspectives, I began by reading various research articles and conversing with people who brought their expertise to my research. Besides the theoretical influences, these interactions have shaped my research’s practical dimensions and brought a unique perspective to my work.

A Conversation with Chet Butger and Hanka van der Voet from ArtEZ Univeristy of the Arts in Arnhem, teaching at the MA of Critical Fashion Practices

They lent me their time and expertise as scholars and practitioners in critical fashion study
and practice. Their input has given depth to my critical thinking. They have provided me with detailed and oriented readings, inspirations, and guidance, without which this position paper would not have researched its potential.

Exploring Alternative Fashion Forms and Narratives

My position paper emphasized embodied research methods, materiality, and fashion representations and meanings. Drawing upon the technique of autoethnography and embracing a new materialist approach, I explored the physicality of the body and the materiality of clothing. I argued that understanding these elements is vital for a deeper comprehension of the multifaceted relationship between fashion, clothing, identity, and self-representation. An essential aspect of my research was reworking the « video interview » as an experimental artistic practice. By employing this medium, I aimed to create a sensual and embodied experience of fashion, offering a unique perspective on this form of communication.

 My research also highlighted the importance of participation in my artistic work; as a place for the body and its attached self. The video interview would rely on the active involvement of individuals who bring my work to life. At the time, I envisioned my artistic research as a space to activate the body to elicit meaningful responses by engaging in fashion-centric conversations. This approach was intended to counter the disconnect often felt when consuming fashion media, where the presence of a relatable body and self can be overlooked.

In summary, during my position paper, my research led me to position my research project to transcend the limits of a semiotic and consumerist approach to fashion. My artistic research would seek to promote alternative forms of style narratives, offering a platform for experimentation and observation. Through the prism of a new materialist perspective, my exploration of the video interview as an embodied experience aimed to foster a deeper understanding of the interplay between embodiment, materiality, and fashion representations and meanings.

To read the full version of my position paper: https://docs.google.com/document/d/1j0liA-DooZJHDFpCFoiO86qJnsk_LRBaxjts_kjzN24/edit?usp=sharing

Artistic Concept

Experimentation & Artistic Research

https://drive.google.com/drive/folders/1kfhD_1zxiYO2TKq4yB7w0y34TqEGWx8x?usp=drive_link

Throughout my artistic research journey, I have embarked on a transformative process that has led me to develop my artistic concept, « Out of Touch. » This section will explore the intricate details of my artistic research process, shedding light on the various stages that led to the conception of my project, from initial questions and considerations to the concrete execution of the concept. I will also explain how I borrowed from autoethnography, embodied research methods, and a new materialist approach to explore sensory experiences regarding our clothing consumption. Each step has contributed to developing a thought-provoking and immersive artistic experience.

Below I focus on elaborating on pivotal moments of my process.

Experiment 1

Incorporating Autoethnography

As I dived deeper into my artistic research, I realized the importance of placing the participants’ experiences at the forefront rather than imposing a predefined narrative. However, I also yearned to find a way to be present in my project. This desire led me to artistically research the concept of autoethnography, which involves using my own experiences and reflections as a research method.

By incorporating autoethnography into the artistic research, I aimed to strike a delicate balance between the participants’ experiences and mine, intertwining them to create a narrative that speaks to the intricacies of the human connection with clothing. 

Excerpts from my video documentation for experiment 1:

Once I established my presence in the project, my focus shifted toward exploring sensory experiences and their ability to disrupt the conventional relationship between individuals and their clothing. I delved into the impact of sensory engagement on people’s consumption and interaction with fashion.

1st of February – Abel Enklaar & Mami Izumi

Incorporating Sensoriality & New Materiality

https://docs.google.com/document/d/1efPYQ4Hijrez6Ur19CqnH2q5bJUETsbP15monIWcRI0/edit?usp=sharing

As previously stated, it is essential for me to collaborate with various professionals and engage in discussions with them throughout a project. Typically, these meetings involve brainstorming sessions where we can share and exchange innovative ideas. My meetings with Abel Enklaar and Mami Izumi on the same day significantly impacted my experimentation and artistic research. Their feedback and insights were instrumental in refining and expanding my creative concept.

Abel

During our discussion, we focused on the participants’ actions during the experiments and how to stimulate their senses. We agreed that it was crucial to emphasize their reactions to the clothes rather than to me, highlighting the significance of their personal and material experience with the garments. We identified the core of my project as exploring sensory experiences with clothing and our responses to objects.

Mami

During my discussion with Mami, we explored how to develop an embodied research method to investigate the intersection between the material and immaterial aspects of clothing with participants. One of Mami’s initial insights was the importance of designing a dedicated space for the experience. It influenced my decision to acquire and maintain a white background throughout the project as a literal frame. Together, we brainstormed the idea of incorporating blindfolds to encourage participants to rely on senses other than sight, moving away from the symbolic associations of the clothing items and symbolizing our disconnection from what we consume. Mami also suggested using a dressing room as a visual concept, representing an intimate space for the participants’ experience.

The dressing room later became ‘The Fitting Room’.

Experiment 2 – Out of Touch Genesis

Incorporating Embodied Research Methods

https://docs.google.com/document/d/1FMkTLnpKAbY_u3C0NB8i8cJAU_dJKO8Xo-U-Jiad2L0/edit?usp=sharing

During the second experiment, the participants underwent an interview, followed by a meditation session with me. They then washed their hands and were blindfolded before being asked to select clothes from a trash bag. Finally, another interview was conducted. By designing « Out of Touch » as a sensory experience, I aimed to engage participants’ senses, creating an intimate and authentic encounter with clothes between the participant and its tactile experience.

Excerpts from my video and audio documentation for experiment 2:

Experiment 3 – The Wall-E scenario

https://docs.google.com/document/d/1N7FPG_eGDt3dPyNQQG0KcK-pb0K-E3aA03SV4454IVc/edit?usp=sharing

Experiment 2 took a new abstract form, drawing inspiration from the film Wall-E and featuring a dystopian storyline. Participants were blindfolded and collaborated in constructing a fitting room wall using discarded clothes presented to them as a pile. This exercise aimed to revive their sense of touch and shed light on the harmful effects of overconsumption in the fashion industry.

Excerpts from my video and photography documentation for experiment 3:

The Workshop

https://docs.google.com/document/d/1AVqA7OkxUos4rbR9q7ZDbP_uFl9O7aZVVI-YUXd_os0/edit?usp=sharing

Recognizing the potential of this experience as a participatory performance, I decided to make it a video-documented workshop. The presentation of the results would be showcased as a multimedia installation.

To ensure its effectiveness, I developed a precise script and defined the structure for the workshop. This involved outlining the different stages, conducting interviews before, during, and after the co-creation process, and capturing participants’ thoughts, emotions, and reflections through video and photographic documentation. The script was a roadmap, guiding the workshop flow and facilitating meaningful interactions. It allowed for a focused exploration of the complex relationship between the material and immaterial aspects of clothing and the sensory experiences they evoke. Through this structured approach, the workshop aimed to provide a unique and collaborative experience, encouraging participants to reflect on their decision-making and the significance of reconnecting with the material essence of fashion. By merging video interviews with participatory art, the workshop addressed the intricate connections between individuals and fashion, challenging perceptions, and sparking dialogue on multiple facets of fashion.

The Or Foundation – Sender Reciever Residency

The virtual residency with the Or Foundation in Ghana I am a part of, has significantly influenced my process. It has expanded my understanding of the challenges faced by communities like Kantamanto and the urgent need for a globally accountable Extended Producer Responsibility (EPR) system. The experiences and knowledge from this residency have informed my artistic vision, guiding me to explore more responsible and sustainable practices in my work. I am committed to continuing the dialogue we started during this residency, raising awareness, and taking action to create a fashion industry that respects both people and the planet.

For the Closet Audit assignment, I took a unique approach to exploring the concepts of my clothing and wardrobe. I visually represented the abundance and diversity of my items by layering my clothing differently. By piling the clothes on my body, I became a living canvas for my clothing, embodying the essence of each garment. This allowed me to develop new languages, narratives, and meanings for my wardrobe.

I used my journey of self-exploration and reflection as inspiration to guide participants during their outfit creations.

Out of Touch Unveiling: Exploring Its Artistic Concept and Production

The artistic concept of ‘Out of Touch’ results from my in-depth research and the various influences I’ve encountered. Through my work, I aim to highlight the significance of engaging with fashion in its tangible and intangible aspects, such as the textile and the body, the material and the immaterial.

The creative and collective process behind the life of a garment is often overlooked, and my project seeks to reveal this hidden journey. By inviting participants and the public to reflect and actively participate in the collective fashion process, I hope to ignite curiosity and appreciation for the art of making and wearing clothes. This project is an invitation to encourage individuals to contemplate the value of what they wear.

My experiments and research have shaped my approach. I was also profoundly impacted by an article from ArtEZ Platform for Research Interventions of the Arts, “Living-With and Dying-With.” This article explores the dehumanization of clothing and the importance of reconnecting with its materiality. It has deepened my understanding of how sensory experiences with clothing can profoundly impact our engagement and perception of them. Aligning with this concept, I encourage visitors to view fashion as a means of connection rather than solely a product. This shift has led me to prioritize sensory engagement over visual aesthetics, allowing for a more profound and meaningful relationship with fashion.

As a result, I have developed an interactive and collaborative workshop where blindfolded participants co-create the clothing walls of The Fitting Room installation. This hands-on, sensory experience enabled individuals to engage with fashion uniquely, enhancing their connection with the materials and prompting them to question their relationship with clothing. A multimedia installation featuring video projections and participant interviews will showcase the project outcomes. This presentation highlights the importance of valuing and appreciating the creative process of bringing a work to life.

The FASHIONCLASH Pop-Up Atelier, in cooperation with Centre Céramique, were a powerful and relevant venue for the Out of Touch workshop and exhibition as their missions and visions to organize an honest dialogue for fashion, raise awareness, and reflect on changes and societal concerns affecting the sector align. Moreover, partnering and collaborating with these organizations put forward the message of Out of Touch that fashion can be a connector rather than a product. Out of Touch, FASHIONCLASH, and the Centre Céramique created a place where fashion taped into human development.

To read the full version of my Artistic Concept: https://docs.google.com/document/d/1auwoeQ792A40TXrs4wSgOWFzNMF9DvBP/edit?usp=sharing&ouid=113230592717854177285&rtpof=true&sd=true

Production of The Workshop

https://drive.google.com/drive/folders/11Gc4Se1ndm4CjNEKdveIjFIivfjVLjJo?usp=drive_link

Promotion of The Workshop & Finding Participants

I implemented a comprehensive marketing strategy across various channels to ensure maximum exposure and participant registration for my workshops. Leveraging the power of social media and the influential FASHIONCLASH website helped me generate interest and to drive participants to my project.

I created a dedicated Instagram account for the project, establishing a solid online presence. Through this platform, I shared engaging content that informed and captivated the audience about the workshops. To create visually compelling materials, I organized multiple collaborative photoshoots. These photoshoots captured the essence of the workshops and allowed me to familiarize myself with the event flow and establish connections with new people. They served as a testament to the workshop’s ability to bring individuals together through fashion.

In addition to online efforts, I designed attention-grabbing posters strategically placed in high-traffic areas, such as thrift shops, Marres, theaters, and other locations frequented by the target audience. This offline promotion aimed to capture the attention of passersby and spur their curiosity, compelling them to participate in the workshops.

By combining online and offline promotional tactics, I successfully reached a broad audience and generated enthusiasm for the workshops, fostering meaningful connections and engagement within the local community.

Video documentation from the first photoshoot:

Gathering the discarded clothes

During the production phase, my main goal was to source discarded clothes for the project. With Jessie Beurskens, a creative producer at FASHIONCLASH, we collected approximately 17 kg of clothing from RD4, a recycling center. Additionally, generous contributions from friends, acquaintances, and the Dots and Square vintage shop added around 20 kilograms of clothing that would have otherwise been discarded. I also acquired 2 kg of garments from second-hand stores, spending only 75 cents.

The focus was rescuing clothes on the verge of being discarded, giving them a second life, and highlighting their value. By incorporating these garments into the workshop, I aimed to convey that what may be considered trash to one person can hold immense worth for another. This approach added depth to the sensory experience of participants, emphasizing emotions rather than just visual aesthetics.

Sourcing discarded clothes for the workshop has been enlightening, strengthening my commitment to responsible fashion practices and the potential within overlooked materials. Witnessing the revitalization of these garments has deepened my understanding of sustainable fashion’s transformative possibilities. By incorporating rescued clothes into the workshop, I intended to inspire participants and exhibition visitors to reconsider their consumption habits and appreciate the beauty and value of repurposing existing items.

Questioning Ways of Upcycling Clothes

This experience has sparked a broader conversation about responsible fashion choices and our ability to impact the environment positively. It has driven me to explore innovative approaches to upcycling clothing, ensuring no fabric goes to waste.

Embracing Collaborative Approaches in the Creative Process

Collaboration has become a vital working method for me. With Out of Touch, taking a collaborative approach elevated the outcome of my project, allowing me to broaden my artistic vision by letting other people make decisions and give their opinion.

However, I must recognize that collaboration also poses challenges. As my project was conceptual and the results were developed during the two workshops with the participants, effectively communicating my artistic vision was a big challenge. Indeed, I understood that it is not always about sharing but rather being understood. Nevertheless, it was essential to integrate collaborators at this stage of the process, as their contributions brought new perspectives and enriched the results. The collaborative nature of the project pushed me to find innovative ways to convey my intentions, leading to a dynamic creative process based on the exchange and sharing of ideas.

I made moodboards for my collaborators when they initially joined the project:

The Fitting Room

A significant challenge I faced during the project’s production was determining the optimal method for hanging the clothes on ‘The Fitting Room’ structure. This aspect required meticulous experiments. I aimed to balance functionality and visual appeal, pushing me to think creatively and explore unconventional approaches. This phase of the project encouraged me to step outside my comfort zone. I collaborated with Laura Claessen, a first-year design student at Zuyd, to address this challenge. We brainstormed to make the process participatory for the participants while achieving the desired aesthetic outcome. Our collaboration allowed us to combine our perspectives, ideas, and expertise, leading to innovative solutions and a more engaging experience for the participants.

Photography documentation of the evolution of ‘The Fitting Room’ during the two workshops:

Scenography of The Workshop

Thanks to Branko’s coaching and the contribution of the FASHIONCLASH team regarding my participation in the FASHIONCLASH Pop-Up Atelier, I recognized the importance of creating a beautiful space for the workshop participants but also for the visitors of the Centre Céramique.

I wanted the environment to be aesthetically pleasing and evoke a sense of safety and immersion, akin to being part of a game or on a movie set. I delved into scenography to achieve this, carefully crafting the space’s visual elements and overall ambiance. While creating the scenography, I discovered a newfound passion for this aspect of artistic expression. It allowed me to blend my love for design and aesthetics with the immersive nature of creating an engaging experience for the participants. The scenography not only enhanced the overall feel of the workshop but also contributed to the participants’ sense of connection and involvement in the project. It became clear that exploring scenography in future projects could be an exciting avenue for further artistic exploration and growth.

Production of The Exhibition – The Wall

The workshop’s results were presented in the exhibition The Wall (2023). It took the form of a multimedia installation. At its core, the exhibition celebrated fashion as a collaborative effort where diverse voices and perspectives converge to explore the intersection between tangible and intangible aspects of fashion.

If you’d like to learn about the outcomes of the workshop and the process behind The Wall (2023) exhibition, visit the project page.

The exhibition showcased two videos that gave viewers a glimpse into the creative process of workshop participants, including interviews with them. ‘The Wall’ was a testament to the original idea of fashion as a visual and physical collaborative effort. Those who visited the exhibition became the ones who carried the meaning of the display, embracing the spirit of collaboration and experiencing the profound impact of fashion to express oneself and connect with others.

Reflection on The Exhibition “The Wall”: A Solution-Oriented Approach

Producing and presenting my exhibition, « The Wall, » was an experience that allowed me to explore the diversity of fashion systems. « The Wall » was born from my belief that critical fashion practices can promote positive change within the fashion industry.

As an artist, I wanted to create an exhibition celebrating fashion as an artistic expression. I sought to present a vision for a more inclusive and responsible fashion world where collaboration, diversity, and self-expression are at the forefront.

« The Wall » has evolved into a platform that provides solutions through various media interactions. It offered two videos and an interactive installation to engage visitors in a multi-sensory experience. The goal was to encourage the audience to reflect on their relationship with clothing in its material and sensory form.

Prospects For Next Year  

I am excited to start my MA in Costume Studies program at NYU next year. This opportunity builds upon the concepts and themes I explored in my « Out of Touch » project and feels like a natural progression. This program will deepen my understanding of fashion as a cultural artifact and explore its historical and socio-cultural significance. The program will help me develop my research, critical analysis, and practical skills, allowing me to interpret better and communicate fashion narratives.

I look forward to collaborating with esteemed professors and engaging in cross-disciplinary dialogues that will broaden my perspectives. This program will challenge me to reflect on my assumptions and explore new avenues of creativity. The knowledge and insights I gain from undertaking the MA in Costume Studies program at NYU will enhance my artistic practice and enable me to make meaningful contributions to Costume and Fashion Studies. My goal is to continue using fashion as a tool for social change.

Clothes Sale at the Meldkamer – Meraki Intimate Community

I’m organizing a clothing sale to raise funds for the Or Foundation #Stop Waste Colonialism Campaign and Dress for Success at the Meldkamer. Both organizations have been instrumental in supporting and inspiring my project. All proceeds from the sale will be evenly distributed between the two.

This project is conducted with Meraki Intimate Community.

Meraki

Meraki, μεράκι, [may-rah-kee] (adjective)
This is a word that modern Greeks often use to describe doing something with soul, creativity, or love — when you put “something of yourself” into what you’re doing, whatever it may be.

« From June 3-15, a group of emerging artists and creatives will come together for a multidisciplinary event to spark creativity and foster meaningful connections. At the heart of our gathering is a commitment to cultivating an intimate community foundation with a global reach, where like- minded people who share our passion and values can flourish. »