THREE EYES: FIVE YOUNG CHINESE DESIGNERS
We would like to draw your attention to the opening...Read More
We would like to draw your attention to the opening...Read More
An extensive group of designers participates in ‘The Future of Fashion is Now’ project. Additionally, international talent scouts nominate a number of designers for each exhibition, assigning them with special commissions to make new work. As such they are given the Han Nefkens Fashion on the Edge Award. Please meet the total of exhibitors and their work, showing great dedication to create an exciting future for fashion.
London-born Craig Green graduated from Central Saint Martins in London in 2012. Having worked under Walter van Beirendonck and Henrik Vibskov, he developed his own label and specific look on the world. His work uses spectacle and a variety of media and methods to protest against traditions in fashion. He lays emphasis on crafts and DIY, bringing an active and reactive mode into fashion. His men’s collections present a playful, but strong road that fashion could take in the future. (England)
Born in the South of China, Jiang successfully graduated from Central St Martins in London. The designs/workshops within this conceptual project reveal her critical point of view on both contemporary China and the universal fashion process. (China)Work
Born in South China, Dooling Jiang graduated from Central Saint Martins in London, and initiated the conceptual design project Digest Design in 2010. She feels a sense of responsibility as a designer, and her critical designs comment on and reflect the world around her. Her work is a symbolic demonstration of contemporary China, actively ‘digesting’ daily and complex situations. She has launched the Xiao ready-to-wear line, the Hua artistic line, and the Digest Design Workshop. Her instinct and choices in fashion put her work one step ahead of global change. What would her vision for the future of fashion be? (China)
Australian duo Ricarda Bigolin and Nella Themelios are open-minded fashion explorers who question fashion systems from within. Ricarda is a designer, lecturer and researcher in the Fashion Program at RMIT University and Nella is a curator, writer and creative producer at RMIT Design Hub. Their collaborative practice includes a continual investigation and critique of the strategies of fashion branding, which is expressed in projects under the name of Dolci & Kabana (or sometimes Aftrs). Their work attracts reflections within specific social contexts and is mostly participatory. Subversive interrogations invite new fashion thinking and making. The nature of fashion is laid bare, so that designers are forced to make choices for the future of fashion. (Australia)
Dutch haute-couture maker Iris Van Herpen interned at Alexander McQueen and Claudy Jongstra after training at ArtEZ in Arnhem. Since 2011 she has been a guest member of the Chambre Syndicale de la Haute Couture. By integrating fine handwork and high technology, her unique work captures the essence of fashion’s current potential. Artistic expression and individual identity come together in her work, in which movement and emotion are suggested by form and material. Her specific vision lets us dream of what she has in mind for the future. (The Netherlands)
Lucia Cuba is both fashion designer and social scientist. In combination with interventions and actions, Cuba’s designs are intended to bring political issues to the forefront of public opinion. Her activist design project Articulo 6 aims to raise awareness about the forced sterilizations implemented during the government of Alberto Fujimori in Peru (1996 – 2000). She creates garments that re-interpret, transform, and give independence. Cuba combines the world of fashion design and social sciences, seeing garments as agents of future change. (Peru)
Agata Oleksiak was born in Poland and set up her activist studio Olek in New York. She uses crochet to cover people and objects, thereby questioning their nature in the here and now. Her colourful work rides a line between protest and optimism, and suggests another public dimension to which people could relate. Whether it be entire spaces or bicycles, her energetic crochets intervene in everyday experience. She presents site-specific cultural studies and underlines social reality in communities. Ultimately, she is giving feedback. What feed-forward could she present for the future? (Poland)
Through scenarios of participation and imagination in the form of installations and performances she explores how new concepts can present fashion in our minds. (Australia)
Her textile based practice presents a philosophy of working with natural elements as a tool in the production of form, colour and print. (The Netherlands)
An interchange of sculpture and fashion design is made tangible in her designs. Coming from architecture, her pieces function as spatial entities that extend the human body. (Serbia)
Her design prototypes investigate what is meant by clothing comfort in aesthetic quality and how form can be empowered by touch, movement and emotion. (South Korea)
In his photographic installations he takes on the European stereotypes of North African world and turns them into a visual celebration. (Morocco)
Her garments formulate a search towards new outlines, and as such they balance between the geometry and shape of the female body form. (Russia)
Her womenswear designs are based on the notion that fashion is both a language and a form of activism, and she makes collaboration, imagination and ethics part of the process. (Singapore)
Martin Margiela’s designs deconstructed fashion by means of unconventional cut, silhouette and finishing, and continued to do so until his departure in 2003. (Belgium/France)
Through her collections, show pieces and art installations she challenges the traditional fashion seasons and explores our obsession with the female body. (Finland)
Fusing fashion, performance, installation and sculpture, she explores different ways of ‘wearing’ one’s identity and connects with the lives of strangers, art and everyday life. (China)
Dorith Sjardijn and Jeroen Teunissen articulate an expanding gray area for fashion and technology to merge. Objects and ideas are created in order to make digital fashion identities visible. (The Netherlands)
Through twisting and weaving he expresses the physical properties of paper as a working material and reveals that impossibilities can be transformed into new possibilities.
Six international jury members focused their combined expert perspectives on the future of fashion. From a comprehensive compilation they have distilled forerunners; through commissions they have set the minds of six of them totally free.
Fashion art activist and founder of the initiative Han Nefkens Fashion on the Edge.
The Dutch writer and art activist Han Nefkens has made his home in Barcelona. In 2000 he began collecting international contemporary art, and his Han Nefkens Collection is now housed in a number of European museums. He later set up ArtAids, which employs art in the fight against AIDS. Nefkens also stimulates young artists, writers and curators with commissions, prizes and stipends: in Spain with the Han Nefkens MACBA Award and the Creative Writing Grant, and in Thailand with the BACC Award for Contemporary Art. For many years, Han Nefkens Fashion on the Edge has been organizing highly distinctive exhibitions at Museum Boijmans Van Beuningen with work by established and up-and-coming fashion talents.
Fashion professor and Dutch focal point in the international fashion world.
José Teunissen is Professor of Fashion Theory and Research at ArtEZ Institute of the Arts, Arnhem, the Netherlands and a visiting professor at the London College of Fashion. She also works as an independent fashion curator. She is a board member of several foundations that celebrate and promote fashion, such as The New Institute, the Dutch Platform for Design and Fashion, and CLICK/Next Fashion. José Teunissen was curator of Fashion and Costumes at the Centraal Museum in Utrecht from 1998–2007. She is author of many progressive fashion publications, including The Power of Fashion (2006), The New Male (2010) and Couture Graphique (2013).
Photo by Johannes Graf
Dr. H.C. Ali Ansari has worked in leading design positions since his graduation in 1990 from Lette-Verein in Berlin – including as head of design at Caren Pfleger design company, JOOP! Womenswear, and Peserico SpA. In 2000 he started sharing his multicultural knowledge with upcoming fashion design generations, and for more than a decade, as the responsible head of the fashion department, artistic director and professor for collections at one of Germany’s most renowned private state-approved universities of applied sciences, the AMD. Ali Ansari currently consults for international companies, educational institutions and exhibition projects as a freelance artist, fashion designer, trend scout and lecturer.
Ezra Mabengeza is an artist/actor/humanitarian. His line of sight is delineated through the force of transcendence. He moved from Nelson Mandela Bay in South Africa to New York to study at the International Center of Photography. Since his successful inaugural solo exhibition opened in 2006 in New York he has pioneered collaboration between New York’s inner-city underprivileged youth with youth in Soweto and the Eastern Cape, which has also involved HIV art therapy. His work has been featured by the New York Foundation For the Arts and by Luire (vol. 81) as one of the nation’s most promising young immigrant artists.
Lucia Cuba is a Peruvian fashion designer and social researcher. Her work involves a critical approach to fashion design and the construction and exploration of garments as performative and political devices. She is interested in broadening the understanding of the role of fashion design objects, from purely functional or aesthetic considerations, to include social, ethical and political perspectives. As a scholar of public health and psychology her work explores issues of body, gender and biopolitics through the construction of garments that act as critical devices.
Nien Siao is currently Director of Pearl Academy’s NOIDA centre (NCR Delhi), an institute of fashion, design and the business of design. For seventeen years Nien Siao has been associated with academic design and actively involved with curriculum delivery as a tutor and mentor. Nien Siao has amalgamated vast and extensive experience in the research and development of fashion and textile products, colour and trend research / forecasting, and craft product development for the retail and export sectors. Nien Siao considers her educational contribution as a means to build a design future for society, focusing on the development of the Indian fashion and design industries and markets.
Otto von Busch, Sweden, Professor of Design at Konstfack University College of Arts, Crafts and Design in Stockholm. In his research and practice he explores how fashion design can be reverse engineered, hacked and shared amongst many participants as a form of civic engagement, building community capabilities through collaborative craft interventions and social activism.
Patricia Brien currently lives in Cardiff and is the Course Leader of Fashion Promotion at the University of South Wales. Her most recent project, Spiritus Loci, orchestrated a group of selected Melbourne-based fashion designers, textile designers, musicians, weavers, 2D graphic artists and crafters to respond to nature places over a period of one season. It was focused around shifting ecological awareness of place to inspiring sustainable design practice and human connectivity.
Paula da Costa Soares is researcher at CITAD – Centre for Research in Planning, Architecture and Design in Portugal. She holds a PhD in Management and Fashion Design (Minho University, Portugal), lectures in Architecture and Arts School (University Lusíada Porto, Portugal), and is the author of several articles on the history of fashion.
Associate Professor Robyn Healy is Deputy Head of Research and Innovation at the School of Fashion and Textiles at RMIT University, Melbourne, Australia. She is a freelance curator and works extensively with Australian and international public collections of fashion and textiles, collaborating with contemporary practitioners to disseminate design through experiences of exhibition, publication, and/or conversation.
Japan-born Sayoko Nakahara lives and works in Dunkirk, France. She holds a BA in the philosophy of science and an MA in art criticism and curating. She has collaborated with Tate Modern, Whitechapel Gallery, Arnolfini and Ikon, but has also worked on independent projects. She is currently curator at FRAC Nord-Pas de Calais and won the Han Nefkens Curatorial Grant for 2012. Nakahara also coordinates international exhibitions, including Americana, Littérature and Destroy Design – Modern Living.
Síle de Cléir studied Fashion at the Limerick School of Art and Design and worked as a designer for some years before studying Folklore and Ethnology in University College, Cork. She has researched Irish textile and dress traditions and studied transformations from folk to fashionable dress in twentieth-century Ireland.
Sun Goddess is a luxury fashion and lifestyle brand that designs and sells exclusive clothing, fragrances and accessories. Quintessential traditional South African luxury.
Valérie Lamontagne is a PhD scholar researching into Performativity, Materiality and Laboratory Practices in Artistic Wearables at Concordia University where she teaches in the Department of Design & Computation Arts. She is a designer-artist and curator of media arts as well as the owner/designer of 3lectromode, a Montreal-based wearable electronics atelier dedicated to avant-garde crafting and consulting in fashionable technologies.
Vandana Bhandari is Professor and Chair of Knitwear Design at the National Institute of Fashion Technology in New Delhi since 1995. Having completed her Master’s in Textiles and Clothing at the University of Baroda in India, she has been self-employed for several years, manufacturing and supplying children’s clothing under the label TINY CLASSICS. In 1996 she gained her PhD in Textiles at Delhi University, India. A distinguished teacher and academic, Vandana Bhandari is a specialist in the subjects of craft and fashion in India, economic sustainability projects for craftspeople, fashion forecasting and product development for knits, consumer behavior, and fashion trends.
Vassilis Zidianakis is an artist, curator, and Artistic Director of the collective ATOPOS Contemporary Visual Culture (ATOPOS CVC) in Athens. He studied Ethnology and Anthropology as well as History and Civilization at the École des Hautes Études en Sciences Sociales, Paris. He has worked with the costume designer Ioanna Papantoniou and the director Robert Wilson. ATOPOS Contemporary Visual Culture (ATOPOS CVC) is a Greek curatorial and artistic collective. It was founded in 2003 by Stamos Fafalios and Vassilis Zidianakis and was recently joined by Angelos Tsourapas. With their varying backgrounds in architecture, art, anthropology and mathematics, the three have merged their interests and visions to create an interdisciplinary platform for the arts.
The Han Nefkens Fashion on the Edge Award, initiated in 2008, is a biannual prize for exceptional work by a designer working on the cutting edge of fashion and art. The prize amounts to €25,000, of which €15,000 is intended for a commissioned work for a solo exhibition at Museum Boijmans Van Beuningen. The award promotes non-Western and lesser-known European fashion forerunners: Christophe Coppens, Charles LeDray and Rejina Pyo are amongst previous winners. At the end of 2016 the next Award winner will be announced, preceded by an online competition process.
‘Connecting people through art.’ This is the mission of the Han Nefkens Foundation. It achieves this on an international scale by supporting emerging and mid-career artists. This is done both by financing the production of new works and providing an international platform. The foundation’s related activities encompass awards, exhibitions, scholarships and residencies in multidisciplinary areas including the visual arts, fashion and literature. The candidates for the awards and events are nominated through a global network of experts. The Han Nefkens Foundation is dedicated to leveraging its activities to give outstanding emerging artists, designers and writers the opportunity to develop their work in a global context.Read More
‘The Future of Fashion is Now’ is an exhibition and (event) platform that seeks to connect and celebrate young fashion designers/artists around the world and, as such, aims to work towards defining a new system of fashion.
All exhibitions, commissions, events and awards are the result of the ongoing project The Future of Fashion is Now, an initiative of Han Nefkens and José Teunissen. Set up in 2006, TFOFIN makes possible the development of fashion pieces and installations by Viktor & Rolf, Hussein Chalayan and many others, which are then offered to the museum on long-term loans. It initiates commissions and supports research into valuable changes in the fashion scene.
The website of ‘The Future of Fashion is Now’ is a dynamic intersection in the road to the future of fashion. It will grow and deepen both towards the opening of exhibitions and events and thereafter. Together with designers, jury members and scouts, everyone can have their say in the collective voice of fashion.
Through travels abroad, online research, portfolio reviews, literature research, and consulting talent scouts and jury members, commissions for site-specific work are developed.
For the awards and for TFOFIN fourteen international talent scouts put forward the three most promising and interesting fashion designers of their country or network working at the cutting edge of fashion and art.
For all commissions and Awards an international jury is selected and installed that share their combined expert perspectives on the future of fashion. From a comprehensive compilation they distill forerunners.
Museum Boijmans Van Beuningen holds stirring old paintings, trendy installations, an austere espresso bar and a shop full of design. Take a journey in the museum of Rotterdam and travel through the history of art from early Middle Ages to the 21st century. The museum has first-rate, world-class pieces on display, from historical to contemporary art, from the applied arts to design. Together with high-profile temporary exhibitions and the beautiful architecture of the 1930s they guarantee hours of enjoyment of art.
‘Connecting people through art.’ This is the mission of the Han Nefkens Foundation. It achieves this on an international scale by supporting emerging and mid-career artists. This is done both by financing the production of new works and providing an international platform. The foundation’s related activities encompass awards, exhibitions, scholarships and residencies in multidisciplinary areas including the visual arts, fashion and literature. The candidates for the awards and events are nominated through a global network of experts. The Han Nefkens Foundation is dedicated to leveraging its activities to give outstanding emerging artists, designers and writers the opportunity to develop their work in a global context.
DutchCulture is the strategic advice agency for international cultural cooperation, creating activities worldwide. DutchCulture works with – and for – the cultural sector, the government and the diplomatic network both in the Netherlands and abroad. DutchCulture is commissioned by the Ministry of Education, Culture and Science; the Ministry of Foreign Affairs and the European Commission. Among other things, DutchCulture provides information on European grants and on artist in- residences throughout the world, organizes work visits for embassies and foreign experts, collects information on the export of Dutch culture, stimulates collaboration with China, Brazil, Russia and Turkey and coordinates cultural programmes centered on international events.
OCT Group is one of the large scale central enterprises subordinated to SASAC. Since 1985, starting from a stretch of mud flat beside Shenzhen Bay, after 30 years of construction and development it has fostered three leading major businesses in China, including tourism and related cultural industry operation, real estate and hotel development and operation, manufacture of electronic and set package products. OCT had become the first brand of Chinese tourism industry, also had been granted the title of first batch of “National Culture Industry Demonstration Base” by the State Ministry of Culture and was honored as “Top 30 Culture Enterprises” by Publicity Department of the CPC Central Committee for many years. OCT also focuses on public welfare cultural undertakings, the number of cultural art venues ranks top in the country. In 2012, OCT Contemporary Art Terminal upgraded to OCAT Museums. With its headquarters in Shenzhen, the museum group comprises OCAT Shenzhen, OCT Art & Design Gallery (Shenzhen), OCAT Shanghai, OCAT Xi’an, and OCAT Institute (Beijing). It combines public welfare cultural undertakings, corporate social responsibility, branding strategies and cultural construction closely.
OCT Art & Design Gallery is the first gallery focused on design in China. Constructed by the OCT Group, the gallery was formally launched on September 1, 2008. It is the design branch of the OCAT Museums. OCT Art & Design Gallery is dedicated to promoting various designs. We devote ourselves to make connections among public, art, design and culture through different approaches, such as exhibition, education, collection, and research.
As an important platform for Dutch creatives and cultural entrepreneurs in Paris, Atelier Néerlandais offers practical assistance and advice to discover the French market. The atelier was initiated and founded in 2014 by the Embassy of the Netherlands in Paris. Its space serves several functions: from workshop to exhibition space and fashion showroom—additionally serving as a home to ‘The Future of Fashion is Now’ masterclass in March 2016.