Issue 21 – In Conversation with .. 10!

Alexis: Agreed. Design processes are often invisible to
consumers, and validation requires reflection and direct
interaction with customers. Customers are the ones who wear
the garments. They know how the clothing feels on their bodies.
It's highly subjective, which is why retaining the craft of tailoring
in a fashion label is important.
There will always be customers who want to adjust things to
enhance their experience with clothing even more. With our
background, we can actually work as catalysts. However, this
approach isn't feasible in a fashion label, making it challenging
to find a place in the fashion industry. I love clothing. I love
making clothing. But finding my voice amidst the noise of 'how
you should run your label' is extremely difficult.
Where or how would you position yourself?
Svea: Wait, I have another question: Your transition from
tailoring and fashion design, both fields deeply rooted in the
technical, hands-on production of clothing meant for the
protection of the body, to a field of study that explores
a completely different perspective. How did that happen?
Alexis: How did it happen? I think it’s again a matter of
positioning. The way people act in the fashion industry is so
contrary to my upbringing on a farm. I had this need to let
these values from my childhood flow into my work and fashion.
I find it so important, that these bodily, intimate, and caring
values, and how we deal with society, must also flow into our
work as fashion designers. Especially because we influence the
subjectivity of people through our designs. This indirect process
wasn't clear to me before, and I followed my intuition. However,
I also faced many disappointments along the way.
The Master's in Critical Fashion Practice at ArtEZ feels like
a continuation of these thoughts and positioning. It's extremely
helpful in finding my place and raises many questions. How can
we play with the discrepancies in our lives? How can I somehow
liquefy the structures and find new ways to navigate through
this barrier? How can we reach out to each other and arrive at
a point that is socially more valuable than something as
alienating as the fashion industry? Here, one of the approaches
is again the other extreme, to create it more humanly by
alienating oneself, as you do, and imagine a new world.
To invite people and realize, wait, I can participate here, my
voice is heard, and I feel seen. And I think such approaches are
totally important.
Svea: Thank you, I’m glad that you feel that way.
It might be my way of rebelling against societal norms
and boundaries and the desire for authenticity and respect—not
just for individuals but for our whole
environment.
You’re not a better person just because you happen to meet the
beauty standard.
Another thought that was particularly new to me, came to me
during the design process for the sculptures’ clothing:
How do I dress a character?
To consider how someone feels and what this character needs
to feel comfortable. So, looking at clothing as a form of support
and expression for each person’s inner world. This made
me realize once again how fashion shapes not only the outer
appearance but also reflects and supports personality, moods,
and needs. Somehow I feel that through the sculptures I’m much
closer to people.
But as you already mentioned, not only the output of the
fashion industry shows the alienation from people, but
also the way the entire fashion industry operates.
Unfortunately, I have had so many negative experiences
concerning mutual respect. Around the end of the 2nd
year during my studies, I wasn’t sure if I really wanted to
work under ego power struggles for the rest of my life.
I think we both have had similar experiences because we
have seen the world of fashion from different perspectives.
The development of the relationship and hierarchy
between fashion designers and craftsmen to this day still
surprises me. The complete devaluation of craftsmen. This
led me to seek the connection between fashion and art.
Because I needed to show a different kind of interaction,
like a small alternative society. Within this society is a
certain safety to experiment. I like that.
Alexis: So, we're back to my favourite critique, capitalism.
Yay! But honestly, I don't even feel like talking about it
anymore because I just think, burn this shit down.
However, I do believe that people who have the skills to
implement things and inspire others to envision the world
differently pose a threat to the concept of capitalism. Yet,
once the detachment from clothing to craftsmanship is
achieved, there's also a lack of understanding of how the
clothing we produce influences society and individuals.
Svea: Another question, because you keep emphasizing
humanity: How do you see artificial intelligence in the
fashion sector?
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