How was The Vor project born? What are your signature core values?
The Vor project was born from a progressive reflection through my studies on my role as a designer and the ideal position I imagine adopting for myself and for others. Desire to fill a growing frustration of the last few years, due to a drive to do what seems “useful” (helping the user, meet needs…) while establishing a very strong interest in what seems “superficial” for the general public (fashion, art, fiction…). For fear of repressing my desires, for fear of disappointing and of not feeling that I was tangibly creating something important for the future, I then theoretically sought answers to these questions, to understand my role and position myself. It is this search for meaning in the discipline of fashion that allowed me to extend my practice beyond the mere physical utility and thus to open up to design practices with more psychological, social or symbolic functions. I then acquired a way of thinking linked to a way of creating the accessories, gathered within the project The Vor, approaching certain values of haute-couture for clothing, and oscillating between a more critical, speculative and symbolic reflection on the notions of aesthetics, function and production. The fundamental value is a discursive reflection through the fashion accessory, embodying ideas and wishing to propagate messages to question reality, stimulate the imagination and open up to a different world. I hope this project can become a reference for creative experimentation around the fashion accessory. Here in a first step: a hybridization between high technology and high craftsmanship, dedicated to open the field of possibilities and to be able to influence the future creations that will form our daily life. I like this sentence of Bruno Latour to define the identity of my project: “to succeed in seeking new words and creating new methods” to compose our common world, and more precisely for the design of accessories.
Your accessories are excellent design products, and the use of 3D CAD makes you special in the industry, do you have a background as a product designer?
Yes, I studied industrial product design in France. It is from there that I liked to imagine scenarios, storytelling and thinking about different daily life. With a strong interest in art direction, I started over time to imagine scenarios showing more absurd, grandiose or parallel realities. The drawing and especially the use of 3D CAD that I learned during my studies allowed me to simulate more easily all the elements that shaped these stories, especially through the objects used but sometimes also through the architecture of the sets. When I specialised in the field of bags, I used this way of working in 3D first to imagine and propose multiple formal ideas and quickly prototype the final design. When I imagined my own designs, however, there was often a discrepancy between my imagined idea, its curves, its precision, its aura, and the models that I made using traditional design methods. So I decided to use my 3D research, my digital files, for final production purposes, through 3D printing, in order to recreate as faithfully as possible the imagined object in our reality. From there I developed a more concrete expertise on the production of the bag itself and its future.
What kind of parallel reality scenario does your design portray?
My designs depict features of our daily life and exaggerate them, magnify them, put them forward. Through them I try to propose a vision of our daily life, of our reality, more open, more naive or absurd. I use these adjectives in a positive way. The absurdity of the possible, of the infinite imagination, of the “why-not”. My designs and their functions represent the aura of a mysterious character, with an amplified understanding of our daily lives, ignoring the reason and the principles of our society. My recurring muse, associated with these designs, is a public figure generating a certain mystery, a certain strangeness around her identity, which betrays her belonging to a different world with these bags. I like to think that they could be signs to a reality quite similar, but parallel to ours, and that hiding them in our daily lives and showing them through events or other furtive appearances, could open up for a moment the imagination of a different world :)
You take inspiration from fantasy as much as from reality and everyday life objects for example for the crinobag using historical fashion references and mixing them with daily life items to create a modern and desirable accessory. What’s the secret of this particular, almost metaphysical way of reinterpreting fashion?