T E KO G R A D U AT I O N S H O W 2 0 1 3 Thursday January 31st Copenhagen City Hall
T E KO G R A D U AT I O N S H O W 2 0 1 3 JANUARY 31ST COPENHAGEN CITY HALL
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N O1 CAMILLA JÆGER JESPERSEN N O2 RANDI KJÆR PEDERSEN N O3 CHINIE MORGENSOL N O4 S A R A H H A RT V I G N O5 SUZAN WOODCOCK N O6 ANNA STØY JESSEN N O7 JULIE WORUP OLESEN N O8 SOFIE HVIID SJØGAARD N O9 THERESE BORK KNUDSEN NO10 KRISTINE LEMMICHE YSSING NO11 L Æ R K E KO L D S KOV
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There is something very special about journeys. Firstly the joy of unfulfilled expectations and secondly that sense of a strong belief that everything will end well. Both sentiments are often paired with a quivering sensation inside the body, slightly revealing its concerns for the unknown. This year’s newly graduated designers have all the aspects of travelling with them. Through their extensive studies and work on their c o l l e c t i o n s t h ey embarked upon a highly sensory personal journey. On their paths, they were obligated to reinvent themselves in order to explore unknown contexts. Henceforth, their experiences have led them to new positions in their lives and with a diploma in hand they may step forward - onto their exhilarating futures. Some shall find a design position; some will opt for an adventurous start of their own label, whereas others might embark on further study trails. One thing they all share is that special sparkle, ready to tackle the challenging international fashion industry. Alongside and guided by a strong team of carefully selected skilled lecturers and guest teachers, the designers have gone through a demanding
educational course, filled with practical and theoretical projects, work placements, exchanges, design processes and experiments. Each time it impresses us how hard they worked and how they coped with ongoing
WHEN ONE JOURNEY ENDS, A N OT H E R ONE BEGINS.
struggles. This persistence together with the tool-set their education has handed them, allows them to exude the professionalism which now forms the basis of their future. The designers fully live up to our expectations of individualism on a high aesthetical, technical and craftsmanship level. Furthermore, it is hard to ignore
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their heartfelt commitment and dedication towards fashion design. Our graduates are often described as creative profilers with a thorough technical and commercial understanding. We are extremely satisfied each time we realize that we have succeeded shaping and contributing to this pivotal synthesis. Furthermore, we remain con vinced that the design industry more than ever, needs creative designers who understand the technical and commercial language of fashion design. Frankly, we would like to pave the way for the future of Danish design. Therefore I will encourage companies to welcome these novel travellers to the business. Do test their dynamics, energy and creativity. We wish for you to be that next stop along their way to creative fulfillment. Finally, please do allow their thoughts, ideas and energy to sparkle inside your companies to wholly benefit and celebrate international fashion design.
Ingrid Søe Director of Education – Design VIA UC, TEKO Design+Business
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P H O T O G R A P H Y B Y M I K K E L V Ă– L C K E R / B L A C K B A S E M E N T S T U D I O S . D K
CAMILLA JÆGER JESPERSEN DESIGNER N O1 Imagine a sullen yet composed interpretation of a mind, one that has been ever so in turmoil. As we envelop our mental stasis, layered garments are positioned in graphical shapes, enveloping wearers luxuriously. Opulent cashmeres, leathers, furs and sleek sheer cottons, have been sculpted around the essence of clinical dressing. Inspired by the rigour of mental clinics at the turn of the previous century, this stern and clean collection tells a story of forlorn tales, controlled idiocracy and solemn composure.
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RANDI KJÆR PEDERSEN DESIGNER NO2
An imaginative and rational reflection on the crossover between ar t and human creations and the submerged debate on what constitutes surrealism, is suggested here. The collection, inspired by 1930’s doll-makers, such as the iconic Hans Bellmer, explores a fascination of surrealism, life unspoiled and without any pivotal restraints. The loosely fitted garments are a reminder of expressive construction techniques.
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CHINIE MORGENSOL DESIGNER NO3
Aligned with voluminous shapes, stringent and minimalist lines, wearers seek for interactive textural play. These garments are centered on an encounter of opposite societal groups, divided by their ideologies and mindsets. A combination of more slouchy styles and tailored suiting is suggested here to underline the dynamic interplay within casual yet sar torial dressing. Lush leathers, warm quality wools and airy jersey cotton, all in a monotone colour palette, shape the understated yet powerful silhouette.
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S A R A H H A RT V I G DESIGNER NO4
A return to the rather gloomy and perhaps darker Victorian age is suggested here, incorporating a more reflective take on effeminate dressing. Larger contrasts between voluminous dresses and cropped, fitted jackets allude to an expressive silhouette. A novel interpretation of stern dressing, this wearable collection features exaggerated shapes, tailored shir ts and fitted modern corset inspired tops. The understated colour palette allows wearers to reflect and interact with their garments freely. Overall, the styles seek a sar torial balance between expressive contours and profound sar torial harmony. 10
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SUZAN WOODCOCK DESIGNER NO5
Pensive and focused on the human rationale, a muted colour palette, suppor ting a rather minimalist collection, that strives to captivate our thought process. Composed entirely of sustainable quality fabrics, this understated solemn collection, titled “The Veil and The Moon�, urges to subtly break away from societal stigmatization. Exploring the polarization of our world and its profound lack of understanding, the tall silhouettes lift the tension between opaque exposure and secretive darkness. The garments ideally envelop thoughtful reflective wearers that step balanced and composed onto the unknown.
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ANNA STﾃ郎 JESSEN DESIGNER NO6
A sleek collection, maintaining a composed silhouette, hinting at exquisite detailing and lean shapes, is suggested here. Inspired by muse Jean Patchett, an eclectic globetrotting model from the 50ties, we are swept away alongside her exotic journeys and many encounters. A slight touch of menswear elements have been added to underline effeminate independent dressing. As Ms. Patchett also was a darling in the Parisian couture world, such craftsmanship has been incorporated as well, luring the audience to explore and discover details and craftsmanship beyond the sculpted surface. 12
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JULIE WORUP OLESEN DESIGNER NO7
This appraisal of print, graphic shapes and tessellate forms suggests a colorful take on 1960’s silhouettes merged with a dash of futurism. Contra-poses and stillness, as in a state of suspension from time and space, are pivotal to these garments. Loosely triggered by zeitgeist photographer Pierre Debusschere and his work ‘’ The day the world went away’’, this collection is a powerful reminder of the versatility of futuristic print. Transferred carefully via a meticulous paper application process, these modern styles suggest a composed and rational silhouette.
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SOFIE HVIID SJĂ˜GAARD DESIGNER NO8
This collection is a study of the dimensions of geometry, inspired by the versatility of the beetle. Its transformative nature, metallic surface and rather defined silhouette, allow for an intelligent transition to fashion design. The tessellate shapes have been transformed into angular drawings, based on a mix of patterns and fabrics to emphasize depth and texture. A slight exaggeration of the female hourglass shape alludes to a highly genteel and wearable selection of garments that effor tlessly compliment a naturally effeminate silhouette.
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THERESE BORK KNUDSEN DESIGNER NO9
A true sar torial homage to famous provocateur Sid Vicious, couture pieces have been deconstructed and reinvented. A fresh clash between baroque and punk-elements, the crafted raw dresses, skir ts and sweats appear decomposed and slouchy. By adding on lush detailing, Swarovski gems and quality fabrics, the collection reestablishes its opulent and eclectic lush character. Chiffons, silk organza, duchess, sleek furs and leathers have been incorporated to fur ther underline the luxurious feel of the silhouettes. Tall, raw and expressive they march against the grain, the heads held high.
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KRISTINE LEMMICHE YSSING DESIGNER NO10
Imagine a neutral space, where boundaries and sar torial restraints are lifted. Freed from such societal obstructions, wearers have the freedom to express themselves freely. Wearability here becomes a secondary concept, which this collection likes to evaluate. Here we can observe the eradication of borders and a challenging answer to what one would perceive as wearable. Aptly named �TheSignsOf TimeRecorder�, the styles stand for a return to the essence of design, aimed at society in general, a society without compromise or applied sar torial rules.
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L Æ R K E KO L D S KOV DESIGNER NO11
Movement, impulses and momentary suspension are key elements in this collection, coined ‘Modern Primitives’. Highly expressive in its nature, it lends elements of modern tattooing, body paint and the many creative encounters between Keith Haring and the ever eclectic Grace Jones. The free flowing silhouettes are constructed on the premises that movement is as impor tant as the garment itself. Prints and excessive patterns, fur ther underline this urge to capture strong and emotive energies of remote renegade tribes, proudly moving forward passionately.
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CREDITS
TEKO IS SCANDINAVIA’S LARGEST DESIGN AND MANAGEMENT COLLEGE WITHIN THE FASHION AND LIFESTYLE INDUSTRY’. WWW.VIAUC.DK/TEKO Creative Direction, Show Production & Graphic Design: Femmes Régionales Press & Front of House: Marlo Saalmink – Public Relations Key Make-up & Hair: Tina Kristoffersen Production: Femmes Régionales Choreography: Malene Pedersen Music: Djuna Barnes Graphic Programmer: Mads Kruse at MK Agency Press Contact: Marlo Saalmink E: press@marlosaalmink.com T: +45 2853 9612 www.marlosaalmink.com Thanks to:
ARCTIC GLOSS, 300 G/M2 MUNKEN POLAR ROUGH 120 G/M2
GRAPHIC DESIGN BY FEMMES RÉGIONALES
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