SS19

ABOUT THE COLLECTION

Linn Sohl

U/NITEDA meeting, when two or more garments come together to create a new whole. This project aims to interpret a two-dimensional collage into a three-dimensional garment by investigating playful combinations. It’s about the meeting between scale, materials, movement, colors, garments and the playfulness that is created through the combinations.

Elin Holm

Printograms
Prints developed post garment production directly onto the garments. Using uv-developed dye a technique that in fashion is previously very unexplored. When the sky is literally the limit new aesthetics in print design can be achieved.

Sarah Ljungdahl

Smock x Knit
Exploring the possibility of shape in knitwear by looking at the aesthetic properties of smocking, drawing inspiration from sportswear. By extracting elements from smocking the ambition has been to translate aesthetic aspects of the technique via volume, pattern, material and colour into knitted material, targeting a sporty silhouette and expression.

Emma Granberg Silfors

By morphing extreme contrasts in dress, by the means of ​male coded work wear​ and ​female coded​ shapingwear, this work explores ​gender related​ norms, ideals ​and​ status.

Linn Sjögren

Tourist
The aim of this work is to explore the printed Hawaii shirt through material investigations in search of new print
meetings. The motive of this work is to critically look at the society today, with a focus on consumerism, foreign travel, tourism and the expression of it. The result of this work is a collection based on the printed Hawaii shirt, made in various techniques, such as laser cutting, transfer printing and knitting.

August Gille

Inspired by military uniforms, this collection challenges the function of pockets in menswear by manipulating

scale, placement and construction. A contrast to the strict, masculine shapes of military wear was found in tie-dying techniques used by the New Age and Anti-war movements of the 1970s.

Karolina Centeno Norberg

This work explores hand weaving in fashion design and aims to develop this technique into a three dimensional garment construction. With focus on the immediate relation between fabric and garment, these two variables are created at the same time, resulting in hand weaved garments with no cutting and sewing.

Ebba Andersson

Of Line
Through analysing the characteristic use of lines in sportswear and evening wear and by the method of 3D sketching – my work aims to explore the juxtaposition of evening wear and sportswear. Consisting the possibilities within expression and construction of new garments.Axel Backlund
A Bounch of Motherfuckers

In this project a collection of clothes, based on the subculture of raggare has been developed. The aim has been to investigate the technique of spray painting directly on garments and thereby developing new expressions in the process of creating prints.

Josephine Persson

Attention to Details

The collection is an exploration of details, in order to question the identities and silhouettes of archetypes. “Attention to Details” lies in the curiosity of pushing the boundaries of garments and accessories, to be able to find a further expression within the field of street wear; an expression that exceeds the limitation of the garments and its contexts.

Stina Randestad

HYBRIDS
Hybrids explores expressive material combinations through fabric manipulation and a generative methodology, aiming for a bang!

Alice Jardesten

Clashing Context
Fashion is a social construct and its very essence is to express identity and status. Depending on context we dress differently and due to certain structures, we conform to stereotypical ideas of how to dress.This work aims to challenge hierarchies in fashion by clashing defining factors of archetypical garments and stereotypes by the means of construction.

Linda Dekhla

Weaving Dress
Exploring whole-garment weaving as an experimental design method to create expressive dress where form and textile are interrelated

Matilda Envall

The Story of a Dress
This work takes its inspiration from a vintage dress, repeating and manipulating its features through two-dimensional imagery, scale and embellishments. The 7 looks can be seen as 7 chapters, that together form the story of a dress.

Matilda Forssblad

BRAVEHEART FASHION WEAR​ – Dressing titles
Fashion is more than garments. This work wants to extend the domain of fashion beyond its traditional outlets, using text titles as a starting point. Moving freely between categories such as fashion, art, image and product, ideas are manifested in many different material forms, tied together by the practice itself.Kajsa Willumsen
Dressing[room]
A relationship between spatial dressing and body dressing. With the aim to find a new way of dressing the body by looking at how a room is dressed it is also questioning the way we categorize things by maximize the decontextualized readymade objects potential use.

Malin Westman

Babewear
From the day we are born, we are divided into a gender. This work is looking into the way society force children’swear into two set genders. By studying the characteristics in children’s wear, scale them up into an adult size creates new proportions with a new expression in fashion.

Josefine Gennert Jakobsson

Who’s Tooth? Houndstooth!
The work investigates how to generate form and surface on a body based on houndstooth pattern. A method called cut-and-weave was invented that creates shape and the houndstooth pattern simultaneously. One starting point for this work was questioning prints lack of function regarding creating from.

Lynn Tallvod

SADVERTISING
Sad? Buy! Lonely? Buy! Happy? Buy! You deserve it? Buy! This collection serves as a way of commenting on consumerism by provoking emotions in the viewer. It’s done by printing images from the dark side of fashion in combination with texts from advertisements. Feel something? That’s the point.

Stina Larsson

“PLASTIC_SOUL” introduces Plastisol in the field of fashion; as a new garment merging technique, that aims to challenge and explore different approaches on how to use qualities of Plastisol; in shape, fastening/ attachment to create new expression and surface appearance in dress.

Linda Aasaru

Inverted Archaeology (- exploring representations of garments through their negative form)
This work investigates the expressive quality of the negative form of ready-made garments through the method of making impressions. The work aims to explore how imprints of garments created in alternative materials such as flour and plaster could be used as a trompe l’oeil print motif in fashion design. It is an exploration about how our pre-existing perception of archetypal garments expands when the garments are represented through their imprint in a new material, colour and form.

Carolina Johansson

Girl Get Dressed/Ready to Wear
This collection operates at the border between fashion and performance. The work is developed by designing new activities of getting dressed as potential producers for dress, in order to explore the performativity of body in relation to forms of dress.

Mario Eurenius

Dick International
This collection explores sensuality and normative ideas of identity in fashion, suggesting a underwear concept for ppl w dicks and lovers.

Rebecca Karlsson

The Iconic Flower
This bachelor degree work explores the interrelation between print and form in fashion design. The aim of this work is to use the deconstruction of iconic flower prints to investigate the relation between form, print and the body through volume, padding and draping to achieve new expressions in dress.

Helga Halldórsdóttir

This work began as an exploration of the spatial qualities of awkwardness, then eventually evolved into a fixation on the three planes within the corner of a room, representing the safe haven for an awkward individual. The corner has successfully demonstrated the relationship between body, space and garment as a concept. Furthermore, the corner has proved to function as the ultimate tool for creating a sculpture with the integrated body.

SS18

The collections simply present both principal and practical aspects of design vision that is the necessary foundation for any design practice for years to come.
– Clemens Thornquist, professor in Fashion Design at the Swedish School of Textiles

SS17

COLLECTION SS17

Amanda Gerell

’Letting the body and material together frame something that is worn.’

This work explores restrictions in todays embodied practice of dress. These restrictions affects us in three ways; The rules of the classic templates for garment construction, the use of clothes to shape the human figure and thirdly in our socially established structures of dress.

Through the investigation a method of shaping garments from the lines of roundness in the body is applied in an effort of doing the minimal to achieve maximum effect. By working directly on the naked body a closer relationship between textile and skin can be achieved. A relationship where traditional rules are questioned and replaced by the feel and intuition of the performing body. Letting the body and material together frame something that is worn. 6 m of fabric, transformed by the roundness of a hip – nude, while dressed in body lines.


Carolina Johansson

This work aims to explore the linking of body parts and the internal interaction of material, body and motion in order to establish a new relationship between body and dress.

The common system in construction of dress is based on an absent body, consequently dividing it into predetermined pieces, where the parts of the body are being isolated from each other. With the intention of challenging those fixed structures, the work proposes a change of order in dress through a change of practice when investigating the linking possibilities within the body.

Based on the elasticity of the moving body and the haptic perception, in terms of constructing directly on the own body, the work presents a series of examples which connects and compose dress from new positions of the body. This should be considered a contribution to what is perceived as dress and bridging the gap in the discussion between body and dress.
Ella Boucht

My collection Claiming Space is based on an investigation of scale and lace through sportswear; it combines the rough and functional side of sportswear together with the lightness and sensuality of lace that become a new whole. The garments in the collection drape around and interact with the body through their length and scaled up silhouettes but still expose the body underneath through the semi transparent lace fabric that makes the clash so interesting. The outcome breathes a sort of seriousness and elegance in collision with bold colours and humorous shapes.
Elias Högberg

The aim of this work is to investigate a way of developing deconstruction through abstraction. It does so by looking in to borders. The borders created in between garments and sections in an outfit. Using techniques of reduction to abstract and deconstruct garments. Going away from the physical aspects of a garment and instead starting out in the metaphysical aspects.
Evelin Kägo

Project “Color perception“ explores the relationship between knitted and transfer printed textile layers by focusing on color perception, patterns and their visual merging effect in order to create constantly changing surface expressions – animation/optical illusion effect in garments that can visually “react” and create strong communication with the audience by continuously showing the wearer’s/viewer’s interaction that is “displayed” visually. It invites the wearer to materialise his or her movements and the viewer to interact with it.

I developed a knitted fabric with great shape holding properties to be able to create illusion/animation effect between the layers. With this project I want to expand the thinking of patterns from being one surface decoration into multi-layered surfaces. I believe patterns have more potential in their essential way of being. I am working with the pattern designs through its “construction” – through layers.
Ella Josefin Larsson

What draws the line between a garment and an accessory?
Can the body itself become a part of the garment?

The present work strives to challenge our perception of the relationship between body, dress and accessory; by deconstructing the hierarchies of the everyday relation between them. Through the methods of surrealism, such as Exquisite Corpse, this work aims to use these research methods to push the boundaries of our creative process.
Erik Stensson

Most def.

The collection is about definition trough undefinition. A study in menswear and tulle, based on the idea of motion blur.
Helena Theise

F YOU F ME

This collection is an exploration of rectangular pattern construction combined with print. Focus was put on balance, ease and an organic flow through the shapes and between them, while the prints are complex and provocative.

Every garment has an inside print and an outside print, making it possible to follow the rectangles loop around the body. All the fabrics are digitally printed.
Julia Falkhorn

This work explores the act of wearing in relation to athleisure.

Sport clothing is no longer only a athletic uniform but also a part of everyday dress. When observing young men dressed in athleisure one can detect a certain way of acting or wearing. What we wear affects how we act think and feel.

Can studying different aspects of wearing lead to new expressions and approaches in fashion design?

The aim is to abstract the silhouette of athleisure wearing, in order to explore the interaction between the wearer and the garment and how this interaction effects the shape of the garment.
Jennifer Jönsson

Action! Force of Fashion

This degree work aims to tell a story about the force in fashion.

Through forced material interactions on body the focus of this study is interaction. Interaction between contrasting materials, body and space and/or catwalk and audience. By forcing materials to act and interact on body this work aims to find new expressions and ways of making in fashion.
Julia Ragnarsson

The collection is based on the phenomena of red carpet fashion and celebrity worship.

The project explores iconic celebrity fashion images as figurative prints in relation to the body. Images are taken in a direct approach towards the body and guides every step of the designprocess, from construction to material choices and visual expression. Presenting a collection which plays with perspectives of both print and body and comments on the way we consume both fashion and celebrity culture through imagery.
Mimmi Fielding

This work explores stereotypically feminine decorative elements with a focus on ruffles. This is done within menswear to open up new possibilities within clothing and fashion.
Ruffles are primarily used as an applied decoration within womenswear, ruffles should not only be used as an decoration to garments and furthermore not be limited to womenswear.

A desired outcome has been that the garments exhibit the positive and functional characteristics that ruffles give such as, increasing volume, less predictable silhouettes and interesting movement.
Matilda Forssblad

Future Fashion Epic Beauty
fuck your feeds – a room of my own

This work explores the relationship between body, object and space, how this can be translated to wearable garments.

The body is defined and passive objects are made active through interaction in the wearing. The work states a connection between the space around us and the space within, so by exploring a space we are exploring ourselves.

Further this work suggests how a shift of approach to the body, by working towards it rather than from it, can be a way to expand what fashion is and can be.
Maja Freiman

RECONFIGURE

This explores how repair can be a tool for finding new use of existing materials. It is a search for both new approaches to composition and reconstruction of garments and aims not to restore, but to recreate value to unvalued items.
Vika (Tori) Im

The motive of this work is to illustrate and visualize the socio-political objectification of the female body, in order to suggest explanations as to how female body standards are derived as a result of this objectification.

The objective was obtained by exploring cut and assembling designs with powerful visual expressions, with sustainability as point of departure.

As the result eight ironic shapes/creatures were born out of one single pattern formula, the formula that would probably never be discovered if the principal point were not a fragile cork material.

The Swedish School of Textiles

ABOUT

Fashion design, at the Swedish School of Textiles fashion is understood in its broadest sense, making room for a vast number of perspectives on what it means to give form to the body: functionally and expressively.
In a degree show, this broad understanding of fashion design is very evident. Here questions like: What does it mean to wear something? What new textile techniques for creating new kinds of clothing can be found? What are the norms for arranging clothing in relation to the body? Or just simply: What is a garment?
Sounds strange? It is not.
Looks strange? It should not.

SHOWROOM

Carlson & Hägg PR & Communication
Dalagatan 31, Stockholm

CONTACT Thomas Hägg
EMAIL thomas@carlsonhagg.com
PHONE Tel: +46 (0)708 723806

By appointment

PRESS CONTACT

CONTACT Thomas Hägg, Carlson & Hägg PR &Communication
EMAIL thomas@carlsonhagg.com
PHONE +46 (0)708 723806