What was the inspiration behind the “Structurism” collection?
This collection was inspired by the richness of the cultural influences under the Ottoman Empire. Due to my origins, I’ve felt a deep attraction for this interbreeding that has been expressed in various ways, through people’s way of dressing, but also through architecture.
How did Topkapi architecture play a role in the collection?
The principles of architecture are very interesting. I’ve also seen an obvious parallel between antique Ottoman diagrams and my patterns. I wanted to challenge the limits of garment construction, so I’ve dug into architectonic systems to translate them into garment tailoring.
What made you turn to a more structured, classically-tailored silhouette for this season?
I’ve indeed focused on a very structured skeleton this season. I wanted to explore graphical paths without the use of classical tools. We invented a double seam vinyl tape to sew the garments in another way and to underline the graphical potential of the garments and their patterns. I needed to stay faithful to myself and rather than going for a variation of prints and motifs, I’ve expressed this thirst by dissecting the anatomy of the garments and by playing with tailoring codes. There’s a huge potential in this; there was no need to go for something ornamental.
The sharper tailoring is offset by softer fabrics, keeping the collection very modern. What was your intention behind this contrast?
These contrasts are constantly present in my work. They’re deeply connected to my roots and are continuously reflected on the garments.
What was the inspiration behind the black-and-white geometric print jacquard fabric?
It came about from a desire to explore graphical principles going through the inner structures of the garment and the fabric, the weft. This led to how the jacquard turned out in the end.
What is the standout piece from the collection for you?
The strongest piece is probably my vinyl painted baby merino fur coat.