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You’re a feral Athenian teen. Your days are hazy and monotonous. You spend them running wild in the only home you’ve ever known, the rotting 2004 Olympic stadium. Time passes through violence. You fist fight with your gang and operate a Pit Bull mating business for cash.

You’re experiencing life inside Park, Sofia Exarchou’s much anticipated debut feature, part coming of age love story, part gritty social commentary. Exarchou, an Athens native, belongs to a new generation of filmmakers behind the avant-garde cinematic movement branded as Greek New Wave. Many critics have linked the birth of the genre with the economic turmoil the country has faced over the last 10 years. While Park is lighter on the weird and heavier on the realism than the genre’s forerunners – Dogtooth (2008), Alps (2011), Attenberg (2010) – it maintains focus on themes of alienated youth and works to destabilise national identity.

The setting of the abandoned 2004 Greek Olympic stadium is laden with metaphorical significance. The arena is often referred to as Greece’s ‘white elephant’; the space now resembles one of the country’s ancient ruins rather than a £6 billion state-of-the-art government built sports venue. What was once a source of hope and pride for the country now serves as a relentless reminder of its collapse.

With Park Exarchou seems to be digging through the rust and rubble from this collapse and looking at what’s been left underneath. What she finds is youth, 21^st century youth that has been saddled with the country’s collective nostalgia for a ‘glorious past.’ Despite their lives of rusted, dirty pools and grimy showers, the kids in Park try to forge their identities, to experience love and tenderness but, like the arena itself, sink lower and lower into the earth, pulled down into a decaying rubbish pit. Unable to even dream of what might be above the pit’s walls, they are swallowed up, along with all hope for the future.

Let’s begin by talking about the film’s distinct and highly symbolic setting. What gave you the idea for using the abandoned Olympic village in Athens?

I wanted to portray a group of kids living in an abandoned place in a social environment that gives them no escape and no hope for the future. I wanted the place to remain somewhat abstract so that it could take place anywhere in the world. Of course the Olympic Village has a lot of symbolic meaning for Greece. The Olympic games in 2004 provided a great deal of hope for the whole country but ultimately marked its collapse. Now it exists as this no man’s land not because of a war or something like that but as a no man’s land created by the Olympic games and I find that fascinating to talk about.

The film features a brilliant set of amateur actors. I’m curious about how you cast the film and what traits you were looking for in your actors?

When we were in the second and third rounds of casting we started doing group auditions so that we could see how the actors would relate to each other. We tried to create a dynamic group that would be full of different characters. At the beginning of shooting I did a lot of improvisation with the kids so that I could determine which elements of the characters pre-existed within the actors. I wanted to know who was more aggressive, who was funnier, who was stronger and who would become the leader. The script created the characters but I wanted to see the real kids inside the characters, I tried to let them be themselves within this environment.

All of the characters, particularly Anna, seem to perform their feelings with their bodies. I was wondering what methods you used in directing the actors to convey so much brilliant emotion but with so little dialogue?

This was a big part of improvisation. The script called for a lot of aggression so we used a lot of warm up games to help the actors reach that place. In fact the arm wrestling scene was a warm up game, it started as a small scene in the script but because we did it so many times it became something important to the film. I think the emotion in the film stems from the fact that these kids are teenagers and the energy that the film calls for is all there inside of them. It’s in their bodies and the way they act so I really tried to let them express that and then I just put the camera close enough to capture it. The actor who played Anna was also a dancer and an ex athlete in her real life so she shared a lot of similarities with the girl in the script. She had trained to be a gymnast but she had to stop around age 16 which was very difficult for her but it meant that she really understood how important the character’s injuries were. We worked a lot with that.

In terms of physical space, to what extent is the idea of environmental determinism at play in the film? I got the feeling that the park itself is in some way responsible for the actions and fates of the kids. How did you work with the set to communicate this during the process of filming?

The film is all about the connection between the space and the kids, it revolves around the idea of depicting the outcome of putting such young people with all this energy and the dreams they have for their lives inside a place that gives nothing and that has no life. The place has a lot to do with the kid’s actions because they are trapped there so all of their animalistic behavior stems from this tension in their everyday lives. When we work with the kids and the set it was all about ‘ok now you’re trapped in the lockers and you are hot and you want to have a shower let’s try to express this feeling and create a reaction when the water comes out.’ The space isn’t totally responsible for their actions but it is their only way of life. The kids are twelve, fourteen years old so they’ve spent almost all their lives in this aggressive place and that aggression becomes a part of who they are.

The viewer is made to feel as if they too rove wildly about the park with the kids. Can you talk about the camera technique that you used in conveying this sensation and why this was important to the narrative?

That was a big part of what I intended to do. I wanted the viewer to experience what it’s like to live like that; that was the most important element of the film to me. When I started the writing the script there was no high narration or big drive for the kids. I did this because I wanted to be honest about their reality, the fact that when you live in a place like this it’s very rare to have any big dreams. I didn’t want to build a mainstream narrative where the protagonist dreams of doing something with their life; the protagonist’s biggest dream is just to escape this place. I wanted the audience to try and inhabit this psychological place during each moment of the film, either by keeping the camera trained closely on the kids or by the way the kids move within the frame. This was all done in the hope that the viewer would leave the cinema with a small sense of what it’s like to live in a place like this, and when I say a place like this I mean any kind of place with the same problems. I tried to be really conscious of this.

The film seems to portray sex as something hostile and violent but also as something starkly intimate. How did you strike this critical balance?

Sex is a huge aspect of the film. It’s a subject that says a lot about the relationship between Anna and Dimitris but it can also be found in the tourist resort, with the character of the mother and with the dog mating. The kids are trying to express themselves through sex but it’s very difficult for them because their environment is so aggressive. This is where the struggle originates. The kids have feelings and you understand there’s a sensitivity to them that they’re trying to communicate this but that they don’t know how. This struggle comes through in different ways throughout the film but sex was the most important vehicle for exploration.

The narrative feels very much propelled by a search for national identity. Could you talk a little bit about the significance behind Anna and Dimitris’s interaction with the British teens on holiday?

I think the film talks about the concept of home, finding a place, finding a father or finding somebody that will take care of you, so it’s a search for something that involves all of that. Of course national identity plays a big role in this search. The film is about Greece, and all the identity issues bound up in the Olympic games, how we feel about our national identity and what makes us proud or shouldn’t make us proud. This idea is communicated through the kids, the feeling that they’re searching for something real. They are ready to go after it and they hope that there will be something out there for them. The sequence with Anna, Dimitris and the British teens was important to the film because it’s the one moment when they’re given the chance to relate to kids their own age and they hope they will find and feel something through this. They’re ready to sing the English songs and be part of the same games. Ultimately they don’t find what they’re searching for and the sequence becomes a sad moment in the film.

Park is rich in symbolism. It feels as if the wild dogs represent certain character’s identity, what was your intent in likening the humans to animals?

It started with the image of two kids who supervise dog mating; it was one of the first ideas I wrote down about this film. At first I didn’t realize how important it was to the story but gradually everything around this subplot began to hold meaning for me. I wanted to depict these kids almost as orphans. They’re alone; moving around this place that makes them so aggressive, and this image of them seemed very close to one of stray, wild dogs. I wanted to show what happens when you trap an animal or a person by drawing a parallel between the two. I also wanted to emphasize the way the kids try to care for the dogs and treat them well even though they haven’t had parents that look after them. I thought this would develop the viewer’s understanding of the kid’s emotions and the depth of their feelings. The parallel between the dogs and the kids makes us afraid that they will share a fate and this cycle shows the viewer a lot about what it’s like to live in this place.

The film clearly articulates a specific anxiety about the decay of human beings, specifically Greek society in this case. The end feels very bleak and hopeless and we sense the continuation of a destructive cycle. What are your thoughts on the wider political climate in Greece and the country’s future?

I believe that as a director you show the reality, you depict a world, and then you leave it for the viewer to experience and decide how they feel about it. After screenings there are always people coming to me and asking if these children are alright now and better off because they were in the film. The answer is no, they are not better because they just played a role in a film, they’re still immigrants trying to survive in a crisis-stricken Athens. I would really like to make a film with a lot of hope and have people coming out of the screening happy but the reality of the situation is so much sadder than the film. I’m not just talking about the Greek reality. I’m talking about Europe in general. For instance, most of the abandoned facilities that I used in the film are now used as a home for Syrian refugees. The story I tell might look bleak or sad but the reality of it already far surpasses what I depict in the film. I would like to find something positive to say as a response to this question but the truth is that my feeling about Europe right now is that we’re in huge crisis and that we have to find a new way to think about things and we must act as soon as possible.

For a closing question Sofia, what are your thoughts on representation and diversity in the film industry from the perspective of a female filmmaker?

I like that this is something that we’re talking about more. I think that whenever there’s more conversation about a subject it means that something is going to get a little bit better at least. I hope we reach a point where neither I nor any other female filmmaker will have to answer this question because it treats female direction like a genre film. I hope one day there will be no concept of a female director or a male director and that we can see a film without needing to discuss gender of the director. I still think there is a lot to be done before everyone can be treated the same. I believe that the core of cinema as an art form is diversity; there are so many different people working in the industry, so many different ideas being put together and so many different minds. We have to embrace that and we have to work toward that direction in every possible way.

Park is screening at the BFI London Film Festival. You can get your tickets here: PARK

Screenings:

Thursday 13 October 2016 20:45, Vue West End Cinema

Saturday 15 October 2016 15:30, Prince Charles Cinema

Words: Elly Arden-Joly

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Ning Xu

What drew you to LCF?

London is one of the most diverse metropolitan cities in the world, there is a glut of artistic atmosphere. The culture is more about freedom than in China. For the college, I think LCF is not only ready-to-wear but also reflective of a good sense of art. It more focuses on the technique, cutting and how to make a real garment.

What was the starting point for your MA collection?

This collection presented a strong personal emotion, because it is based on my own personal experience. When I was a kid I was a really shy boy, I didn’t want to talk to people. But when I was silent, I had thunder hidden inside.

I am quite interested in the contrast from the inside and outside. This is what I used to create and develop my collection. I call my MA collection “mute”. I’m trying to present a spirit called “depth of thinking.” Mute doesn’t mean keeping silence or we just need to be Uncle Tom when facing reality. It shows a concept that hoping to speak right to customers’ hearts without saying a word. Silence means more than words in the current situation. “Truth can only be understood than talk.” It shows an attitude to face our imperfect life and also enjoy each tricky part.

How did it develop?

 When I started to develop this collection I met with huge problems: how to use garment language to communicate the sound art and the silent mood, how to use a gentle way to show a rich visual effect. I recorded a lot of different sounds waves, such as violent quarrel, natural sounds, noise, and gentle conversation to find the difference from these voices, using these different undulating lines to support my silhouette. I also tried a really fresh cutting structure, using one cutting line to combine the same space with the extra space to show a rich layering visual effect. All of these design ideas, which are based on the sound structure and the mood when the people stay alone. For me I really like the sportswear and functional details. In this collection, It related the stylish items: 1980s influences iconic functional garments, such as: denim jacket, bomber jacket, oversized parkas, slogan shirt to redefine and fuse the classical outdoor functional details, to explore a new girly sporty and casual silhouette.

What sort of details can we expect?

There are multiple wearing ways in one garment, which provides the wearers with more choices. Not only put the emphasis on the surface but also the inside. For the details, it highlights the functional and people’s emotion feeling. Every garment is reversible, each side is totally different. It combined very simple and very complicated looks in one garment. The detachable details are another highlights such as the collar the hood or the pocket, people can depend their own aesthetics to wear the clothing. These provided some different way to the wearers. Approaching the inspiration, I explored some embossing technique, the rubber slogan stamps the braille labels: ‘Mute’, ‘silence is luxurious’ to tell a story. I do cherish the imagination and creation from life, to let people touch, feels, and love themselves. The different sensory haptic material, such as the coated silicon poppers and some different functional fabrics such as the quilted, windproof, w embossed slogan ater-repellent, bonded fabrics. These different materials interact with the human’s touch feeling.

What songs did you have on repeat creating the collection?

When I design this collection I always listen “musique concrete”. The music gives me a lot of imagination, because all of the raw sound is come from the real life, just like my collection all of the details come from different daily life.

What’s your favourite look?

It is really difficult to pick one favorite look. In my collection, all of the garments are my favorite. The collection showed my own style very well, modern sporty and causal with very strong functional details. I think every piece is really easy to mix and match with each other.

I think maybe the quilted long coat with the sheer knitted pants and knitting? This look combined a muted palette of blue colour: sky royal and navy, it looks like the night, peaceful. As the same time the polyester fabric with different sheen created a sense of science and technology. Refer to the mute button’s colour, I used really bright and high contrast mango and sunset yellow on the details. Flashed in the banding inside or the little element of the garments, such as the bottom of collar, the pocket flap, the zippers or the rubber slogans. These mango colour or sunset yellow embellish the different blue, made the garment stand out from other autumn/winter collection, while keep the whole collection harmonious, looks more sporty and sophisticated leisure-luxe.

What are your hopes for the future?

I hope to create my own studio, which should be a theme studio or a manufacturing factory. I will put emphasis on direct, not artificial, slow and steadies design. This starkly contrasts today’s Mc Fashion approach, i.e., fast, generic clothing. For the reason, when I go back to China for my final collection, the studios and companies only focus on making money and not on the details or designs so I really want to create a studio to help new designers to create their own designs.

Alexandru Tunsu

What drew you to LCF?

It was purely instinctive. I am terrifyingly honest with myself when it comes to design, and I always think that no matter how good an idea is, it can always be better, and I was hoping that LCF would offer me the safe space where by self-criticising my work, I would end up purifying my identity and aesthetic.

What was the starting point for your MA collection?

 The MA collection, which is entitled “Massacre of the Innocents” focuses on the afterlife of clothing.

The inspiration originally came from the current talks about the death of couture and as the current demands in fashion are quite unrealistic when it comes to time and budget, I was looking into shaping a creative process that would somehow negate that.

So I began to research obsessively about couture techniques and fake luxury and focusing on handmade textiles, felt quite naturally; I was mostly interested in finding ways to create excitement and mimic extremely refined and polished fabrics by using the most rudimentary element, which is the thread.

How did it develop?

While working on it, I tried different types and weights of fabric and as I was constantly creating new garments I thought it was such a waste to just discard them and start from scratch, so I focused on ways to reuse them and integrate them in the newer work without making the recycling the central point of the collection.

Time is such a luxury right now, so I wanted to make sure that each garment will be extremely considered. Out of everything, failed ideas and garments ended up being the most inspiring in the end, and finding solutions to integrate a fairly cheap toile fabric into the collection and making it look expensive and unique, was really rewarding. 

What sort of details can we expect?

I have handcrafted my own fabric for most of the pieces, and some of them were hand embroidered with wool and angora yarn.

By using quite a monastic palette, the soft colours of the frayed chiffon are a nice counterbalance to the rawness and nomad inspired overall aesthetic.

There’s a rebellious feel to the slightly poetic and historical silhouette, and as the interest was to create ghost-like versions of the fabrics and garments I had in the beginning there’s a temptation to touch each piece of cloth, as from a distance it reads as a completely different textile.

What songs did you have on repeat creating the collection?

Clint Mansell, Max Richter and Zebra Katz (and the random songs the girls living next to me would sing, loudly, from time to time)

What’s your favourite look?

The collection developed and got more refined and considered with each look, so at the moment I am mostly connected to the one that I’ve just finished, which is the fluffy black oversized coat with multi layered frayed patterned chiffon and trousers to match.

What are your hopes for the future?

Now that the course is over, I’m on the job hunt! There are some really interesting and radical things happening in the industry right now and it is really exciting thinking how everything will end up looking in 5 years time.  

Lauren Lake

What drew you to LCF?

LCF has a real creative hub, it’s hard work but I knew the guidance I would get through the course would be really beneficial. I also got a fully funded scholarship to pay for my fees.

What was the starting point for your MA collection?

I became inspired by the dress and culture of the 1970s Slovakian Gypsies. The lifestyle they lived and how they expressed their emotion through dress. I wanted to create and design the concept of a strong powerful women, who can handle what is thrown at her in life. I also explored the traditional dress of female Inuits and how they put the garments together.

How did it develop?

This then developed, I started working on the stand and sketching. I created my own block patterns and then worked with these for the whole collection. I started to explore colour and texture, working with different mixes of tactile fabrics. This is when my obsession with stripe began, developing my own stripe. I explored different variations of the stripes and worked with the directions the stripes went in.

What sort of details can we expect?

Sequins embroidered faces are throughout the collection. Ruffles piped into seams. Lots of ties and bows and a lot of mixing of tactile fabrics and colours.

What songs did you have on repeat creating the collection?

I had a different mix of songs on repeat, but my top ones have to be ‘N.W.A – Straight Outta Compton and Express yourself’, ‘Salonge – Losing you’, ‘Amy Winehouse – Fuck me Pumps’, ‘Tony Bennett – Anything goes’, ‘Bonzai – Doses’ and obviously since Beyonce released ‘Formation’ It’s been on repeat.

What’s your favourite look?

I don’t have a favourite look as I really love every garment and the whole collection is really versatile. But my favourite garment has to be my blue leather faux pony skin coat.

What are your hopes for the future?

I am really looking forward to see what the future holds. I’m going to see what happens after the show.

Photography: Felix Cooper

Styling: Anders Sølvsten Thomsen

Casting: Madeleine Ostlie

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Our girls, the outlaws

Designers behind the brand Maxwell Osborne and Dao-Yi Chow like to tell a story with their collections; this season being no exception to the rule. Based on the idea of “New York being a lawless town, and our girls being the outlaws”, the duo revert back to the roots of New York’s streets. This is a collection with a dark, don’t-mess-with-me colour scheme injected with random outbreaks of vibrant pink and red, balanced with timeless autumn tones: burgundy, navy and khaki green. Classic black beanies, oversized hoodies and baggy long shorts became no longer just a street staple, but something desirable to the masses.

Relentless pursuit

The story continues beyond the Bronx though, as despite this being a label very much entrenched in it’s New York urban attitude, this season’s girl is a fugitive and needs a collection that will serve her well on her journey out of town. The designer pair have likened AW16 to the “wild wild west of New York City”; another describes it to reflect a “character travelling through a certain place or time”, likening that character to a Bronx girl in the late 1970’s who needs travel West. Strong and sturdy materials with a built-to-last feel communicate the relentless pursuit of PSNY’s outlaw girl. Even the repetitive hardware keeping together the panels and pieces of the collection have been used to represent the idea of things holding apart, yet still being together.

Tracking steps

Public Service’s urban style is a perfect match for a anyone with a lifestyle involving fitness, so it makes sense that Fitbit have collabed with their fitness bands. Fitbit bracelets worn on the catwalk this season are said to be non-working prototypes, but future plans suggest the wearable tech label intend to feature during future collections to track the steps of the model’s as they move down the catwalk, and of designers Osbourne and Chow as they prepare backstage.

Photographer: Aaron Laserna

Words: Hannah Sargeant

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South London’s Raheem Bakaré is a name that’s been attracting attention in all the right places since his formidable debut, the ‘AWOL EP’. With his unique blend of experimental, forward thinking R&B and soul, the young singer has picked up support from tastemakers in the R&B scene here in London and across the Atlantic in New York. With the likes of DJ Target, MistaJam, Twin B and more locked in, the young lothario counts additional fans in the likes of Musiq Soulchild and the legendary D’Angelo – both of which extended support slot invitations.

With the success of the ‘AWOL EP’ under his belt, Raheem has masterminded a supreme return in the form of new single ‘Forever You’, premiered online exclusively via Wonderland Magazine. The track sees Bakaré effortlessly dipping in and out of his incredible falsetto, making light work of the melodic topline with his silky smooth tones. Mellow beats work to give the song a blissed out vibe, while the deeply honest, vulnerable lyrics keep the balance by providing an intoxicating dark edge. With much attention rightly given to the grime renaissance in recent years, it’s time for the spotlight to widen to other exciting areas of UK talent, and Raheem is stepping up to lead the R&B charge.

“Forever You was written at a time when I found out my ex had fallen out of love. The sentiment behind ‘Forever You’ tackles the vulnerable state of not being ready to give up on the foundations built with your partner as she would forever be the one in my heart. The harsh reality is that I’d ultimately have to say ‘F*ck You’ to ever let go, hence #FU,” says Bakaré of the new cut.

Get lost in ‘Forever You’ below.

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Turkish designer Dilara Findikoglu is on quest to promote equality, whether it be between genders or promoting students’ work in a graduate show, she aspires for her work to be understood. Embroidering everything from female genitalia onto trousers to adhering found objects onto blazers, Findikoglu designs for the female body and isn’t afraid to break a few rules in the process.

When Findikoglu, a Central Saint Martins’ graduate, wasn’t one of the selected for the exclusive CSM Press Show, that didn’t stop her. She led Encore CSM, a show which created an equal opportunity for everyone. Due to this undeterred attitude — which she partially accredits to John Galliano and her time working with him on his first Haute Couture collection for Margiela, her future in fashion looked brighter.

We meet the rebellious Findikoglu whose designs reflect her desire to move against the grain of the ordinary and make her mark on the fashion world.

Can you tell me more about your childhood?

I was born in Istanbul, Turkey to a family with traditional values, which forced me to discover artistic subjects on my own. There was always a pull between living a traditional life or pursuing an artistic career. I had to find my place in all of it.

You use Turkish traditional techniques in your designs. What motivated you to use them?

The Turkish embroidery and carpeting I use is all an interpretation of the sights and sounds of my country. These techniques came naturally as they were a big part of the everyday environment as I was growing up in Istanbul. As I grow up, I learn different cultures, arts, music, traditions but I would still like to find a way to combine them with my ethnic background. I feel like nowadays Turkish designers don’t look back enough to these rich traditions, and they become lost trying to adhere to western aesthetic. Everyone should all celebrate the richness of their own culture so they don’t become copies of other peoples work.

SS16 featured ovaries embroidered in the front of trousers. What was the story behind this collection?

Ideally, I’d prefer this output to be called a capsule collection, it was created 2 months after my graduation. The story behind it was the change of roles between men and women. I take it all the way back to Adam and Eve. There was a twist – I gave the apple to Adam making him the first sinner. In that sense I portrayed woman as the stronger player in the game. Visually, this represented male groupies running after female rockstars. In this world I create, women are the bosses in pinstripe suits and men run after them.

You feature a lot corsets and latex bras in your designs. Can you tell me more about your views on female sexuality?

I support equality rather than any gender dominating the other. The importance of religion in my background has pushed me to support the female form and show that our body is not a threat nor a provocation. I’m totally against the idea of covering the female body so some pervert men don’t get seduced by it.

You weren’t selected for the CSM Press Show and led Encore CSM. What were your intentions for Encore CSM?

My intention was to bring equality to the graduates. I thought our worked deserved to be seen by the outside [world] after a year of very intense work. It is not fair to bring fashion elitism into the game this early on in our careers. That is not the way to teach young brains about the real world and expect them to achieve a successful future.

Your Graduate show and actions were a bit rebellious, tell us more about your own individual presentation?

My will to fight for ideals comes from my father. Where I see unfairness I try to bring positivity. I find it stimulating to bring out subjects that are uncomfortable in fashion. I want to break the rules and show what is not necessarily pretty. People like to be quiet about most things but I would like to save the world by breaking the old rules.

Can you tell me more about any work experience you have and what designers you have assisted prior to launching your label?

I worked for Mary Katrantzou, Jeremy Scott, Yazbukey and Margiela throughout my studies. I had the opportunity to work with John Galliano on his first couture collection for Margiela, it was very exciting and magical as anyone can imagine. Working with such a light hearted genius gave me hope about my future. Fashion world can be unfair, bitchy and tough, but it’s in our hand to choose which path to go.

Do you design for yourself or who do you have in mind?

I don’t really consider myself as a fashionable fashion designer therefore I don’t look at my work as clothes. When you don’t design clothes how can you think of a person to design for?

I know you don’t want to be recognised for one thing, or categorised, but what do you think your signature will become? Isn’t it important to have one that is recognisably yours?

I think people who don’t belong to a certain group or are not labeled as one thing are always the ones who leave more marks in this world.

Where do you source your inspiration, and who and what is inspiring you right now?

I generally look at religion, social issues, mysterious inventions, parapsychology, music, philosophy in my work. I like a mythical story, a shocking event or anything extraordinary. In my work there is a use of old objects that are repurposed and are given a modern perspective. I use unexpected curious materials like chemically preserved flowers, ancient symbology, crafts that belong to my personal background. I would like to think that my work is a part of me so it consists of the same elements of my identity and character.

To name a few my favorite names: Eric Von Daniken, Georges Batailles, Alejandro Jodorowsky, Helena Petrovna Blavatsky, Marlene Dietrich, Black Sabbath, Josephine Baker, Oskar Schlemmer, Joan Jett, and Baris Manco

What would you like to achieve in future collections and for the future of your brand?

First of all I would like to be understood. I would like people to see them as a balance of ideas and visual. I would like to leave un-erasable memories in peoples minds and lives. It would be great to propose my brand on a mixed media level so I present it as a whole story rather than only garments.

Words: Janine Leah Bartels

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Juxtaposition is something which occurs frequently in the vernacular of high-fashion. Whether it be the interplay between dark and light or a balance of masculinity and femininity, the element of contrast is something which seems to fascinate designers. Bunyamin Aydin is one case in point – the creative director of Istanbul-based Les Benjamins yesterday showed a collection entitled “Opulent Punk” during Milan’s ongoing Menswear Fashion Week.

Following the lead of up-and-comers such as Cottweiler and Christopher Shannon, Aydin eschewed a traditional runway show in favour of a presentation held at the city’s grandiose Circolo Filologico. Within its ornate decoration and intricate wall tapestries, the venue’s decoration succeeded in communicating the more opulent elements of the brand’s vision.

The punk elements, however, were communicated not only aesthetically but also in terms of casting. In what could be seen as a veiled commentary on the current homogeneity of the fashion industry, the brand tapped a refreshingly diverse cast of models to front the collection. Slim, androgynous boys covered in piercings were lined up next to muscular, tatted-up models and, in keeping with the recent trend of gender-neutral collections, two women in technicolour wigs were mixed in amongst the cast.

In reference to the brand’s origin, two Sufi dancers were enlisted to whirl poetically around the static models. By definition, Sufi dancing is a form of physically active meditation, a customary dance which is frequently performed in ceremonies of worship. Dressed in traditional white robes, the two dancers added an element of theatre as well as an element of performance – a new take on the formulaic runway shows seen each season.

As for the clothes themselves, some of the world’s most famous faces were borrowed and screen-printed onto oversized tees and drop-crotch trousers. The prints were almost graffiti-inspired, and featured Grace Jones adorned with a nose ring alongside the familiar face of Salvador Dali. Steering clear of colour saturation, these bold pieces were teamed primarily with plain black tees and a series of sleeveless biker jackets. Hemlines also varied, with some pieces designed to more closely resemble robes and dresses than T-shirts.

This unique blend of spirituality, pop culture and relaxed silhouettes is what sets the aesthetic of Les Benjamins aside from its counterparts. More than just a clothing brand, Aydin has previously enlisted rapper Travis Scott to perform for the label and has forged an identity which goes beyond fashion and incorporates culture as a whole. Despite first showing over two years ago, it seems that Les Benjamins is slowly becoming more relevant than ever – a result of fashion’s current fascination with ‘sportswear’ and its place on the runway. With its emphasis on diversity and distinctive aesthetic, it seems that Aydin has created a label which is definitely one to watch.

Words: Jacob Hall

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