Images for the preopening site of the E-Boutique Yep collection, based in Amsterdam. The items are from the spring summer collection of 2012 and mainly feature south-korean designers.

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“Rise from the ground, tread on coal”. With such an eloquent title, Saara Lepokorpi’s S/S 2012 collection speaks of the conflict between nature and culture, through garments of minimal tailoring and maximum graphical impact. 

The clash between technology and organic reality, rigor and creativity (even of a brutal kind), is a subject that recurs in all of Saara’s work, ever since she presented some pieces at the 8th edition of ITS, in which she was a finalist.

The daughter of a self-taught craftsman / art dealer and a management consultant, Saara, fashion designer from Helsinki, graduated at Aalto University and in 2011 founded her brandLepokorpi.

Her aesthetic mixes the colored style of Finn fashion pioneers of the 60’s (like Marimekko andVuokko Nurmesniemi) with the somber culture of northern Europe. Her concepts try to find a balance between freedom and constraint, for a modern, unapologetic interpretation of femininity. 

In her S/S 2012 collection “Rise from the ground, tread on coal”, Saara introduces decorative elements like folds and gatherings in fabrics of pure colors to evoke a primitive idea of bodily decoration and in particular the cult of Haitian voodoo. 

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The drone of a swarm of bees welcomes her 2012 collection on the runway of Fashionclash. The colors are those of danger: bright and menacing liveries on geometric and sensual volumes. Healthy poison for fashion.

Fashion designers are like entomologists. They’re crazy about the shapes, colors and habits of their fabric insects: clothes. And no less so is young Serbian fashion designer Ivana Pilja. 

Apart from the flaming prints by Nada Serafimovic – with an imagery based on post-human anatomy and alien grafts revealed via x-rays – Ivana confirms her great sensibility towards architectural shapes and experimenting with futuristic yet harmonious silhouettes.

Now at her second collection, the challenge is to balance an innate avant-garde aesthetic with wearability. In the more elaborate pieces this balance is attained with dark theatricalisms that recall some of the atmospheres of our friend Marko Mitanovski, except Ivana’s poetic seems to evoke the sumptuous costumes of Japanese Nō theatre.

Mr. Big, 1971
impression sérigraphique sur carte, cadre 
76 x 60,7 cm