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The collection, Άπνοια του Ποσειδώνα (Greek) or Apnea Neptuni (Latin
for Poseidon’s Apnea) is born as my protest against the common misconception of
a “serene ocean.” As it has been with my previous collections; the effects of
aversion, tragedy, and horror on human nature serve as my catapults towards
launching a collection which is opposite to the inspiration but equally
impacting to the audience: a new corrupt ethereal beauty that is uncommon in
fashion today. It is known that designers like Miuccia Prada, Christopher Kane,
and Riccardo Tisci use elements of distaste and discomfort to create trends out
of mass media and the inculcation of their art, which in turn will be sold
numerously. My aim is completely different in that: despite the fact that this
collection is not wearable by a plethora of consumers, my clientele knows that
the beauty of the clothes will remain forever “wearable” and will never be subject
to year or season, therefore the aim for the client is one that will remain
loyal to the brand.
Apnea
Neptuni is in fact a projection of my greatest source of fear and intolerance:
the sea. It parts from a personal anecdote from when I was 13 years-old wherein
I was dragged by a deceitfully “calm” ocean and experienced the 10 minutes
before death in the process of drowning (id est. “the apnea”). Ergo, Apnea
Neptuni, based on the definition provided above, is the same state that I went
through before I was dragged back to shore, but applied to Poseidon as a form
of revenge.
The way I decided to
project my view is by narrating the collection parting from light colours to
darker ones, taking Poseidon as an unaware blank-slated subject who is about to
go through mayhem. The colours travel from white to beige, and then from
stained graphic mixes to total black.
My woman represents
Poseidon himself; he being the God of horses, is defined by the equestrian
silhouette, and the fluidity versus rigidity is provided by the modern
interpretation of Greek draping. Given the power that Poseidon projects;
imperious and military in his ambiance; the equestrian-austere silhouette comes
across as a mix between modern polo uniform and the costume of a standard
revolutionary soldier.
The fabrics were
selected as basic as possible, so they would allow more exaggeration in the craftsmanship
and shape. The fabrics employed; silk, satin, gauze, piquet and organza, drape
perfectly to make the shapes that are required in the collection. The leathers
however being perch skin, beaver tails, and horse skins, symbolize the sea, the
rivers, and the horse reigns, which are the possessions of Neptune
respectively. These fabrics and leathers, along with the shells that are sewn
onto the surface become more and more “dirty” as the collection proceeds; going
through bronze baths and patina immersions, which insult the power that
Poseidon held during the Bronze Age; culminating in black ink baths, which
represent Poseidon drowned in petroleum.
In the research, I
wanted to underline the historical designers that influence my work the most:
Madame Gres and Martin Margiela. Both of these designers have completely
different legacies and fashion cults; nevertheless, a fusion between both of
their aesthetics approaches the most to what I could relate to the identity of
my brand. Madame Gres became my source of inspiration in the aethereal,
romantic sense of my collection, and Margiela influences the deconstruction
inspirations that I also prefer to apply. Although I did not quote Gres’s work
directly with any of my silhouettes, I did reference Martin Margiela’s exposed
shoulder pads, which were proposed soon before he left the Maison. In the
general view of my collection, the perception of their influences is not
immediate, but upon deep analysing, it becomes evident.
The collection
searches to unite sundry elements and to use them metaphorically, translating
their meaning. My intention is to create collections that are heavily attached
to the concept, circumspectly respecting the art and the story that environs
them. This collection is meant to be a
new demi-couture, a demi-couture that is for a cool, intellectual, analytical
young adult with a sensitive eye for detail.
MOODBOARD
/Annex A:
Chamaeleo 2014 Look book/
Soon
after the outfits were concluded, the look book was shot; including shoes and
hats that were made to accompany the clothes. The accessories also take
inspiration from the equestrian-sea concept of the general collection.
The look
book itself, in its execution and heavy “uncoordinated” graphics takes inspiration
from James Turrell’s installations of light and space. James Turrell is an installation
artist and magnificent analyser of space. He has experimented with light and
architecture since the late 1960’s, giving birth to new spaces of light and
illusions of structures.
The
model in the graphic look book was placed as a floating body in a space which
it does not belong; shadowless and with “the wrong lighting” The heavy contrast
of colour serves to demonstrate that the body is not were it is supposed to be.
Consequently, the model appears as a false installation in a clear space.
21.
Shirt Dress in crêpe de chine and horse leather with bronze-bathed, patina-tarnished shells and Swarovski crystals.
Pants in white-laminated horse leather with inserted, overlaid straps in the back.
Equestrian-inspired shoes in horse leather, patina-tarnished shell heel.
Cap in horse leather and bronze, tarnished buckle.
21.
Shirt Dress in crêpe de chine and horse leather with bronze-bathed, patina-tarnished shells and Swarovski crystals.
Pants in white-laminated horse leather with inserted, overlaid straps in the back.
Equestrian-inspired shoes in horse leather, patina-tarnished shell heel.
Cap in horse leather and bronze, tarnished buckle.
Tie-dyed jacket in crêpe marrocain and perch skins with bronze-bathed, patina-tarnished shells and Swarovski crystals. Belt also in perch leather.
Pants in black laminated horse leather with inserted, overlaid straps in the front
Ankle boots in perch skins, ink-dipped "fish scale" heel.
Cap in horse leather and bronze, tarnished buckle.
Jacket/Cape in perch skins and silk organza with ink-dipped shells and Swarovski crystals. Belt also in perch skin with triple overlaid belts.
Pants in black stretch light wool with inserted, overlaid straps on the sides.
Ankle boots in perch skins, ink-dipped "fish scale" heel.
Cap in horse leather and bronze, tarnished buckle.
Tie-dyed shirt in hospital gauze and horse leather with metal hole and leather braiding detail
Pants in black stretch light wool with inserted, overlaid straps on the sides.
Equestrian-inspired shoes in horse leather, patina-tarnished shell heel.
Cap in horse leather and bronze, tarnished buckle.
Stretch silk satin shirt with cut outs and wave-shaped darts.
Pants in black laminated horse leather with inserted, overlaid straps in the front
Equestrian-inspired shoes in horse leather, patina-tarnished shell heel.
Cap in horse leather and bronze, tarnished buckle.
Shirt Dress in crêpe de chine and horse leather with cape and leather strapped spine.
Pants in black stretch light wool with inserted, overlaid straps on the sides.
Equestrian-inspired shoes in horse leather, patina-tarnished shell heel.
Cap in horse leather and bronze, tarnished buckle.
22.
Shirt in stretch silk organza and tie-dye piquet with oval over-positioned sleeves.
Pants in white laminated horse leather with inserted, overlaid straps in the back.
Ankle boots in perch skins, ink-dipped "fish scale" heel.
White cap in horse leather and bronze, tarnished buckle.
DETAILS
Pants in black laminated horse leather with inserted, overlaid straps in the front
Pants in white laminated horse leather with inserted, overlaid straps in the back.
Ankle boots in perch skins, ink-dipped "fish scale" heel.
Equestrian-inspired shoes in horse leather, patina-tarnished shell heel.
Thigh-high boots in white perch skin and white-laminated horse leather. The heel is constructed in the shape of a squid that extends and wraps around the leg. The calamari sculpture is bathed in bronze and tarnished with green patina.
Thanks to:
Catalina Gonzalez: Equestrian silhouette research
Alexia Lloyd Daher and Isabelle Lloyd Daher: Helping hand in execution of the outfits
Claudio Vidor Osaba: Shoe heel sculptor,
Luis Flores: Part 1 Lookbook photographer
Dayana Perez: Part 1 Lookbook retouch assistance
Aurora Peralta: Part 1 Lookbook model
Bastian Ramoser: Part 2 Lookbook photographer
Johanna von Aufschnaiter: Part 2 Lookbook styling
Natasha Via: Part 2 Lookbook model
My parents and family for, well, everything <3
