Highsnobiety / Julien Tell
23 more
Highsnobiety / Julien Tell
Highsnobiety / Julien Tell
Highsnobiety / Julien Tell
Highsnobiety / Julien Tell
Highsnobiety / Julien Tell
Highsnobiety / Julien Tell
Highsnobiety / Julien Tell
Highsnobiety / Julien Tell
Highsnobiety / Julien Tell
Highsnobiety / Julien Tell
Highsnobiety / Julien Tell
Highsnobiety / Julien Tell
Highsnobiety / Julien Tell
Highsnobiety / Julien Tell
Highsnobiety / Julien Tell
Highsnobiety / Julien Tell
Highsnobiety / Julien Tell
Highsnobiety / Julien Tell
Highsnobiety / Julien Tell
Highsnobiety / Julien Tell
Highsnobiety / Julien Tell
Highsnobiety / Julien Tell
Highsnobiety / Julien Tell

Namacheko’s fabrics are expensive. Made from Danish textile company Kvadrat materials and produced by Belgian production and distribution company Gysemans Clothing Group (longtime producer of Raf Simons and Kris Van Assche) no square meter can be wasted. It’s why for Namacheko’s T-shirts this season – a category its designer Dilan Lurr said he would never go into – left-over material from previous collections was used to create multi-colored, panel tops.

“People tell us it’s hard to buy into the brand but I don’t think it fits our brand to make printed, logoed T-shirts, so we decided to do it in this limited way,” says Dilan Lurr whose label, now five seasons in has matured a lot since he launched the business with his sister, Lezan in early 2017.

The Kurdish siblings both studied civil engineering in Sweden, Dilan later earning a second degree in art, making the construction of Namacheko’s clothing unique compared to many of their emerging peers. Elastic rushing was hidden inside cropped trousers, giving its wearer the ability to adjust the garment when pulled up.

The color-blocked elastics that were used for the oversized sweaters and skirts in the final looks were woven, as were some trousers – the label’s best selling category. It gave banal items an avant-garde fashion forwardness, instantly recognizable Namacheko signature.

Tailoring, something the brand has sold well from the beginning, especially in Japan says Dilan, was experimented with through new forms and closures, cinching the waste.

Where Namacheko’s early seasons were autobiographical, referring to Dilan’s own search for belonging and cultural identity growing up between two countries and fitting into neither, this season was different.

The duo had watched Godfrey Reggio’s acclaimed 1982 experimental film Koyaanisqatsi. The work doesn’t feature any actors or dialogue, so Namacheko had free range when it came to designing for the characters that weren’t there. “I told my story, now it’s about someone else,” says Dilan.

Skyscrapers, from the film’s opening scene, were abstracted for the collection’s jacquard turtlenecks and T-shirts – the show’s best pieces. The small embroidered fishing sinkers and floaters attached to coats and jackets were more spontaneous, says the designer, as were the crocheted tanks made from plastic fishing line.

The fishing hats, which the show could have done without, were about pushing boundaries when it came to Namacheko’s styling. “There’s something mystical about a hat, it’s the fifth collection and by now we can do nice clothes but we want a [next] direction,” Dilan explains.

Some of the best stores in the world, including The Broken Arm, SSENSE and Machine-A already carry the label, now it’s only a matter of time before the fashion crowd catches on.

Toronto-born, bred in The Netherlands, living in London.

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