The project starts from the idea of the fashion designer´s role as an Ornamentor of clothes from De Vries, and relying on the importance of craftsmanship as a tool for sustainability. My concern lays in the massive gaps between the different components of the fashion industry and the vertical hierarchy that reinforces this dark spaces that rest between designers, makers, wearers, models, sellers, etc. This, combined with my distress on the increasingly fleeting relationship of wearers with their clothes and the disastrous consequences it has environmentally, socially and economically, have moved me to reimagine my role as a fashion designer. I selected hand embroidery as my tool, mainly because of its capacity for expression and storytelling. The two techniques I base my work on are Sashiko, which is an embroidery technique from ancient Japan. It only uses a running stitch to secure layers of fabric together as well as showcase cultural symbols, and Zuleta, an indigenous embroidery practice from the Andean zone in Ecuador, which is a strong component in the identity symbols for some groups. The material is second hand denim because of its classic-ever- young feel, its versatility and its capacity to retain and maintain the wearer´s every-day life. I feel it is a very resourceful fabric; it can be workwear or high fashion, individual or uniform, unisex, old or new. I believe in the continuous pursue of craftsmanship and its symbolic added value that has become more important than the object itself and became a useful contrivance for a more conscious fashion.
There is an interesting side of craftsmanship, which is the added value it grants the products. This value goes beyond the material part of the piece, it is intangible and it´s what so many sought-after. Crafts allow for an imaginary set of perceptions or characteristics that are embedded in the crafted objects. As explained in the publication edited by the British Crafts Council,
“Craftwork gives the consumer a connection with the item they have bought… It delivers a dialogue with the consumer that becomes richer each time it is used. Through the material chosen and method of construction, a crafted object invites people to think about where it came from, who made it, and how it was made.” (The Future Laboratory. 2012:11)
Craftsmanship allows for a deep connection between the stories behind the object, the makers and the users.
Currently hand crafted items are becoming popular because of said values, such as sustainability, fair trade, eco-friendly and people-friendly. They are considered socially ethic so they have a higher moral aspect, which is desired by many. To me craftsmanship allows for a creative, fun and productive environment. The sense of accomplishment people get from creating something is an important part of a happier lifestyle. I believe working with hands grants people the space to reconnect with themselves as well as with the object they are creating. “Thinking and feeling are contained within the process of making” (Sennet. 2009:7-10). The added symbolic value these pieces have is a useful surplus that also aids in the commercialization of crafts.
