The Beauty of the Beast

Collection Process and Concept

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

SKTECHES

/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.

23.
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.

25.
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.

23/b.
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.

23/b.
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.

20.
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.