After the terrorist organisation “Islamic State“ took over Palmyra in 2015, people and buildings were desecrated, destroyed and blown up in equal measure. Instead of the Bel Temple, the amphitheatre, the Arc de Triomphe, the colonnades, all that remains is a heap of rubble, a crushing emptiness.
How can we prevent that in absence, in loss, occurs repression and oblivion?
How can we give architecture a second life that embody so much human development, symbolism and values?
Therefore the intention of this capsule collection deals with the process of textile reconstruction of Palmyra on the human body.
The shapes for the silhouettes are based on a self-developed, experimental pattern language derived from the structure of temples and columns of Palmyra. Thus the collection is built on only two pattern pieces , varying in size, depth and distance, among other things. The relationship between body and architecture is emphasised by asymmetrical volumes that collapse in areas where the body is missing.
Each silhouette communicates a different phase of the reconstruction, so that the fragmented structure evolves into building-like constructs.
After the terrorist organisation “Islamic State“ took over Palmyra in 2015, people and buildings were desecrated, destroyed and blown up in equal measure. Instead of the Bel Temple, the amphitheatre, the Arc de Triomphe, the colonnades, all that remains is a heap of rubble, a crushing emptiness.
How can we prevent that in absence, in loss, occurs repression and oblivion?
How can we give architecture a second life that embody so much human development, symbolism and values?
Therefore the intention of this capsule collection deals with the process of textile reconstruction of Palmyra on the human body.
The shapes for the silhouettes are based on a self-developed, experimental pattern language derived from the structure of temples and columns of Palmyra. Thus the collection is built on only two pattern pieces , varying in size, depth and distance, among other things. The relationship between body and architecture is emphasised by asymmetrical volumes that collapse in areas where the body is missing.
Each silhouette communicates a different phase of the reconstruction, so that the fragmented structure evolves into building-like constructs.
The materials used, their processing and manipulation, underline the developed design language as well as the antique textile life in Palmyra. A transfer to a contemporary reconstruction is supported by using raw denim as the main material. This is combined with a self-created woven fabric, which describes different intensities of the previous destruction by breaking up the fabric structures.
Representing the unique coexistence of cultures in Palmyra, each art object has a brooch embodying one of the five world religions. The idea is that although one silhouette, one religion, can work on its own, all five are stronger together.
Details of finishings can be found, for example, in the desert colour of the stitching, in the hand-woven diamond-twill lining or in the selective use of raw edges.
