Wandering
The aim of my creation is to express the two visions I have of wandering.
Firstly, there is the external vision of wandering. At first glance, wandering is a word that most often aspires to nothingness. In my opinion, if wandering had to be imagined, it would be a person walking barefoot on a sandy beach on a cloudy day, with only the movement of the waves wetting his toes and the wind blowing his clothes. Seemingly enclosed in her own bubble, she walks aimlessly, her gaze lost in the horizon.
This vision is represented by an all-encompassing coat of simple shapes, whose folds recall the effect of a waterfall, and whose shades of grey echo Massao Mascaro's silver photographs.
Then we have the inner vision of wandering. In this case, it is the antithesis of emptiness. On the contrary, it is the key to personal and creative development, without which no deep reflection is possible, whether conscious or not. This is also the view of Massao Mascaro, who said in an interview about his latest work: « I’ve realised that I’m always in the diversions. This project, in which I wanted to bring together mythology and contemporary migration, is ultimately a way of taking side roads, getting lost and wandering. I think wandering is very important in my work, but also in life. In this work, wandering was like being in a mess before organising the chaos. I think you need this big mess to put something back together.
The evening dress embodies this vision. Her material work, also inspired by the movements of water, spreads around the body like the development of an idea or a reflection. Her style, inspired by Ancient Greece, is a direct reference to the mythological path taken by Massao Mascaro in his latest work.
The video games
My concept is based on the main characteristics of video games: an interactive, fun game that often involves completing a course in order to progress through the game and reach higher levels.
To incorporate these characteristics into my jacket, I’m using a 5-metre-long zip taken from a catamaran trampoline underside. This zip is the central piece of my jacket, allowing me to create a path around the garment and make it evolve as you play with it. Once the zip is open, you discover a new garment and a new game: the next level. This whole system allows me to create a playful and interactive garment, the very essence of a video game. The catamaran trampoline underside was also used for the right side of the jacket and covered with a ‘coding’ material effect, an essential element for creating a video game.
The forests of Neuchâtel
The idea behind this creation is to represent the energy and magic you feel when you’re in the forest. To convey this feeling, I used material effects inspired by moss, a plant often used in magical and fantasy worlds.
To reproduce this ‘moss’ effect, I frayed the imposed tencel fabric and a salvaged syntetic taffeta. The latter adds touches of apple green and shimmer that bring us back to that magical side.
I also partially frayed strips of these same fabrics, which I then applied to the divided skirt. Once sewn together, they form the energetic links found in wood.
All these links gradually lead our gaze to the back of the culottes until we discover empty areas. If you look closely at the back of the trousers, you can see a number of holes which, when joined together, form a face. This face is intended to personify the energy of the forest, a sort of guardian of nature.
