Your designs are laced with satire—how much of your personal philosophy on life and society bleeds into your work?
Our work is an integral part of our lives hence a lot of our personal view influences it– we think about it first thing in the morning and often last thing before bed. Fashion is not just an aesthetic medium, it’s sort of a tool enabling us to critically examine societal issues. Our work draws heavily from a Western European perspective, as it questions the dynamics, double standards, and streotypes of this specific society. Satire is the ideal way for us to approach such topics, as it not only provokes but also offers a playful and accessible way to address difficult or complex problems. It invites reflection on the absurdities that shape our lives and culture, without ever coming across as preachy.
Your work has a distinct Balenciaga influence, but you twist it into something uniquely your own. What’s the fine line between homage and subversion in your design process?
We don’t view our work as homage or subversion, as our starting point and focus lie in multi-functionality and the integration of objects. The overall aesthetic is not solely shaped by Balenciaga; it also reflects the current zeitgeist. Thanks to its power in the attention economy, Balenciaga enjoys the highest visibility. Their influence mainly stems from their ability to quickly pick up on and implement trends and movements, supported by their resources and reach.
The idea of controlling where people look and engage feels almost manipulative—do you think designers should be more like puppeteers, guiding the consumer’s gaze?
Isn’t that what everyone is trying to do in our attention economy? However, the goal of my thesis was to raise awareness about the subtle yet far reaching manipulation of attention in today’s media landscape and how these very mechanisms can be used to reflect a critical gaze back at them.
Tracksuits reimagined as formalwear—why disrupt a streetwear icon, and what statement are you making about high fashion’s obsession with ‘elevating’ the everyday?
Interpreting tracksuits as formal wear isn’t disruption —it’s transformation. It’s about redefining the line between high fashion and streetwear, and questioning the narratives surrounding them and opening up new perspectives.
Your designs are wearable but also performative. Do you see your garments as art pieces first and functional second, or is that boundary irrelevant in your work?
In both our overall design philosophy and our current collection of performative showpieces which go more in the direction of art, we explore exactly this definition of functionality. We aim to study how function and dysfunction interact, much like with gadgets. However, if these designs were translated into ready-to-wear, they could certainly be interpreted as practical for every day use—like a rain cape designed for both scooter and rider, where the front part can be easily transformed into a shoulder bag when not riding, making the cape wearable with or without scooter.
You walk the line between fashion and art—do you ever feel like you don’t fully belong in either world? Or do you thrive in that ambiguity?
We don’t see this ambiguity as a disadvantage, but rather as a valuable asset and the heart of our work. For us, neither fashion nor art are completely separate worlds – they overlap and inspire one another. As I mentioned at the beginning of this interview, my journey started when, after completing my studies in graphic design, the application deadlines for various programs—such as art, film, architecture, product design, and fashion design—were approaching. I couldn’t decide because each field intrigued me in its own unique way. This is precisely why the grey area, not fully belonging to one category, appeals to us. It gives us the freedom to create our own rules and work within both artistic and fashion contexts.
In an industry constantly chasing trends, how do you ensure your work isn’t just another ‘clickbait’ moment, but a lasting critique of consumer culture?
The clickbait moment comes from the new and unexpected mix of products, which is why it stays in people‘s minds. The critique captures a moment in our increasingly fast-paced society, and its depth and relevance are meant to make people think long after.