I’f I Hadn’t Already Done it I’d Do it Again 

In deciding to get back together, they made an agreement to communicate about everything. They had created uncomfortable realities that would become increasingly painful if they hadn’t chosen to be vulnerable with each other. To process their emotions in visual collaboration felt like the most natural language to create in. In this medium, very little translation was required. The pair became consumed by the process of turning these conversations into design. Through this, they were creating a vehicle which served as a purpose and a result of all that was being processed. The designs are conceptual to who they were and are together. The photographs represent the rhythm of constraint and elevation they created.


The materials chosen grasp onto a delicate nature that the designer doesn’t usually accommodate in her work and had to borrow from the photographer. Though the work was penciled and constructed by the designer, the photographer’s influence created a whole that was a summation of more than what one of them could have achieved.


At the beginning of the relationship, caring for each other meant being present to take care of the other person. In the end, it has come to mean taking care of themselves. Through these conversations they have realized that their relationship is in conclusion. For them, these photos are a representation of the beauty that stirring together has resulted in and what it means to move forward, apart.


We showed up to write this project summary coincidentally dressed in the same clothing we wore on our first date. With renewed clarity we conclude this project with a cheers, “if I hadn’t already done it, I’d do it again.”




Models: Agatha Mallari
            Hannah Eriksson 

Make up: Maria Walton 

Written by: Rosemary Xinhe Hu
                     Hannah Eriksson

Designer: Hannah Eriksson

Photographer: Agatha Mallari



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Mark





S/S 2019 Backstage

Life Support for Lifeless Lots,’ began with two images of unknown origins pinned to the walls of Eriksson’s last few homes. On the left, a decaying building and to its side, an image of a woman seated on a gernie with her hospital gown split to expose the cords running down her back.

Rope, cords,  wire and strips are probably what Hannah Eriksson’s brain is composed of so naturally she couldn’t escape these photos. The two images have come to represent how the same visual can, in function, be diametrically opposed; Bringing life and representing destruction.  Eriksson digested this and in response gives us her own brand of deconstructed business wear; clothing cohesive to the world we’ve negotiated
Models:

Tintin Yang
Simone Sylvan
Yasmine Whaley
Nico Gonzales
Stefan Johnson
Veronika Yemelyanova
Maddy Hermans




Photographer: Kristen Sciberras

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Tågluffare A/W 2018

Tågluffare’, coming from the swedish word for backpacker, is about becoming a home for the oneself in a state of transition. The collection is designed to reflect the frenzied relief that may follow the upheaval or restlessness which causes a the pervasive need to physically and emotionally relocate. The home the vagrant carries upon their back is also armour of protection amidst an ever changing landscape-whether concrete or psychological.  All outfits are designed to have enough storage space to bring all baggage with them. A contrast between leathers and silk represent the armour one must carry as well as the vulnerability we choose to express when we feel safe. Out of necessity, the transient soul must also be soft, pliable to the vulnerabilities and urgency of time.


Look at A/W 2018 Editorial →


Models:
Maya Schofield
Christopher K.H.
Maddy Hermans
Tony Graydon
Lukas Daase
Christen Macdonald

Runway MUA:
Evelyn Affleck

Photography:
Simon Armstrong









Tågluffare A/W 2018

Tågluffare’, coming from the swedish word for backpacker, is about becoming a home for the oneself in a state of transition. The collection is designed to reflect the frenzied relief that may follow the upheaval or restlessness which causes a the pervasive need to physically and emotionally relocate. The home the vagrant carries upon their back is also armour of protection amidst an ever changing landscape-whether concrete or psychological.  All outfits are designed to have enough storage space to bring all baggage with them. A contrast between leathers and silk represent the armour one must carry as well as the vulnerability we choose to express when we feel safe. Out of necessity, the transient soul must also be soft, pliable to the vulnerabilities and urgency of time.


Look at A/W 2018 Runway →
Models:
Lukas Daase
Agatha Mallari
Tintin Yang
Tony Graydon

Editorial MUA:
Maria Walton

Photographer:
Mackenzie Walker