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 Please tell us about your White Project.

I wanted my White Project to be deeply influenced by the aesthetic of the 18th century, even before the beginning of the term. When we got the brief, I was obsessed with Jean Philippe Rameau’s compositions for the harpsichord.

I wanted to incorporate the complexity and frivolousness of his beautiful music into my work. Furthermore, after working with Richard Quinn on his breathtaking graduate collection, I wanted to experiment with corsets and underskirts. Therefore, the garment had to be highly engineered.

I focused my research on period fashion, but I quickly realised that I had to explore the century’s rich heritage more deeply. The study of genre paintings by French artists like François Boucher and Jean-Baptiste-Siméon Chardin were highly inspirational. In order to increase the complexity of the dress’s understructure and shape, I also looked at the work of Russian Constructivists that I later integrated with period details.

When others look at it, they would think of…

I hope it would conjure a feeling of fascination for the exquisiteness, which characterised the way people used to dress in the past.

What was the hardest thing about working solely in white?

I consider colours to be the most instinctive and powerful way to express emotions in fashion. Therefore, when forced to work in white, I had to pay more attention to shape and be more clever when designing in order to impress the viewer, which is definitely a positive thing.

How has your first term at CSM lived up to your expectations?

Everything around me was moving much quicker than before and so I could not afford to fall behind.

If a great internship required to bleach your eyebrows white, would you do it?

Only if I could wear a powdered period wig to match them.

Photography by Phillip Koll and Oliver Vanes 

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