SWEDISH SCHOOL OF TEXTILES
SWEDISH SCHOOL OF TEXTILES
The Swedish School of Textiles nurtures over 900 students who all study textiles based programmes divided into three areas, design, engineering and management. Fifteen of the students who have pushed the aesthetic boundaries of design showcased their innovative collections at London Fashion Week.
Erik Stensson's collection is inspired by the idea of motion blur and undefined materials. The expressive potential in materials is demonstrated in each garment. The visually compelling effect of motion created through the use of large sheets of mesh carefully layered over one another. The monochrome colour scheme hints at Stensson’s industrial background.
Evelin Kago’s colourful collection plays tricks on your eyes, exploring the relationship between textiles and body movement and how this effects and creates unexpected surface expressions. Each garment is an optical illusion, using colours perception and patterns to create the idea of constantly changing surfaces. The collection, including combinations of mesh, striped fabric with lines varying in thickness folded and shaped in extravagant ways encourages strong visual interactions between the audience and the garments.
Elias Högberg’s collection features a constant silhouette. All garments create one long, oversized shape with sleeves trailing past wrists and down to the shins. The colour scheme of pink, blue, red black and white adds to the simplicity and neutrality of the collection. While the shapes of the garments remain constant, the patterns of the fabric range from block colours, to ombre and graphic prints.
Amanda Gerrell’s collection aims to explore the restriction in the modern practice of dressing. The idea that the body is used as a tool that has experiences encouraged the designer to work directly on the naked body to find the closest relationship between textile and skin. This is demonstrated by the garments which hung off the models’ natural curves, the emphasis on the natural lines of the body a statement against the restrictions we see embodied in today’s practice of dressing.
Carolina Johannsson’s collections aims to explore the linking of body parts and the internal interaction of material, body and motion in order to establish a new relationship between body and dress. It is the absence of the clothes in this collection that is the key theme, with exposed backs, thighs, knees and elbows in every garment. By constructing directly onto the own body, the collection offers example of new perspectives from dresses.
Ella Boucht’s collection provides the answer to athleisure. The perfect juxtaposition of the rough and functionality of sportwear, harmonised perfectly with the delicacy and lightness of lace creates a sensual collection of sportswear. The garments interact with the body through their length, draped over the body to create sporty silhouettes with feminine detail, such as the lace and ruffles. Accessorising the more feminine details with pinch buckles and the combination of bright, neon colours common in sportswear and the monochrome of black and white perfectly balancing the ratio of seriousness and elegance.
Helena Theise’s ‘F Me F You’ collection is an exploration of rectangular constructions combined with the experimentation of print and pattern produces a collection full of geometric, graphic garments. The complex and provocative prints are digitally printed on both the inside and outside the garment, allowing the rectangular loop flow organically through the shapes. The extravagant, oversized garments screamed crude slogans in bright colours, making the collection truly stand out.
Julia Falkhorn’s ‘Science of Appearance’ collection is an experiment in the observation of how wearing athleisure effects men’s behaviour. The comfort of the relaxed shapes and soft fabric gave the models the confidence as they swaggered down the catwalk. The designer exploration of the male silhouette aimed to combine craftsmanship with young vibrant street and sportswear design, whilst still incorporating an appreciation for traditional menswear.
Julia Ragnarsson’s collection, ‘Who Are U Wearing’ is a response to the banality of mass media and consumer fashion. The collection, including dresses printed with iconic images of celebrities such as Beyonce and Angelina Jolie, is a tribute to the women who left their mark on the history of fashion and an ironic critique of the ever growing desire for fame.
Jennifer Jönsson’s ‘Force of Fashion’ collection was an investigation into the forces of material and how they react and interact with the body. The use of unnatural fabrics such as plastic in unnatural, oversized shapes emphasises the idea of forced fashion, as well as garments constructed of pearls and slogans sending the message that fashion itself is a force.
Maja Freiman’s collection, ‘Reconfigure’, is the answer to this question: What would happen if you used repairing techniques as a method for recreating discarded garments? All the clothes in the collection look as though they have been constructed, deconstructed, and reconstructed. Each features a patch of tape, stitched violently onto the fabric. Raw edges and visible basting stitches feature in garments made from old pinstripe suit trousers and a deconstructed trench coat.
Matila Forssblad’s collection is a spatial exploration between body, object and space. The garments appear at first, like most other dresses, but the details tell a different story. Dress straps were held in the mouth, and transformed into hair pieces. The first model transformed a large white structure on the catwalk into her dress and waist length earrings complimented a short black dress, giving the illusion they are the straps. The collection is a trophy case of alternative designs and innovative fashion.
VIKA (TORI) IM
Vika Im’s ‘Corkodiles’ was a collection of abstract garments that were insect-like in their structure. The big clear shapes attached to skin tight nude body suits gave the impression that the models had transformed into the animals. The use of natural material such as cork added to the earthy atmosphere of the collection.
Mimmi spent time working in womenswear and everything she has learned she translated into her own menswear collection, another step in the gender fluidity movement that is frequenting the catwalks. Feminine decorative elements such as ruffles were the main focus in each garment. A prink raincoat constructed of large layered ruffles, pussybow blouses with oversized ruffled sleeves and skirts with a ruffled hem featured on the male models.