Iqôn In Cabin Fever
Is an Unique pieces Collection based on up-cycled leather left overs, Vintage recycled and Crochet patchwork.
This Fall- Winter collection inspired by a journey in Kiev with Russian photographer Daria Marchik to participate in the Gogol festival and by the meeting of the Russian top model Danila Polyakov, the icon of crazy and melancholic fashion. Iqôn in Cabin fever is a proposition of the mixture of icons religious and pop icons. Cabin fever is the title of a piece of Brian Jonestown Massacre, the feeling of claustrophobia and cutting off on itself.
Iqôn In Cabin Fever put in perspective of this game of images, and the iconoclastic conflict. The attention on detail, simplicity of the port and bearing, casualness and humor. The paradox between the peace and the internal light appropriate for the icon, that is appropriate for every person, and its confrontation with the outside which sometimes confines him in a kind of madness of inadequacy.
The uniqueness of the icon and its work handmade in a workshop is a reference for the realization of unique pieces in the fashion.
Iqôn In Cabin Fever Sourcing
One of my first concerns when I started the label was where to find quality raw materials with a variety of materials. And one of my other issues was to find these resources within my very little budget.
It’s a mixture of resourcefulness and careful research. Indeed, when you have almost no budget at all: how to find what to make new pieces and how to ennoble your production.
One of my solutions: crochet has allowed me to make pieces with a precious and quality finish due to the handwork and the mix of materials. Even if I was chasing wool on flea markets or in places where wool was sold out, the work of composition, of mixing techniques allowed me to have quality renderings while expressing my style.
One of the other solutions was to glean fabrics from vintage markets. Because I could find great raw materials that I could recycle. In these first unique pieces appear the first uses I made of vintage scarves. Indeed, I found in vintage scarves an infinite source of prints, colours and inspiration. Their unity was also in itself a source of pleasure and joy to create.
This resource work was like a treasure hunt.
One of my favourite techniques is assembling left-overs (here, it was a leather drop bag, given to me by another designer). I re-cut all the leather scraps by re-cutting them, and edging them with holes, so that I could assemble them with a manuelle and adapted patchwork technique. I use this technique a lot because I find it very creative, but also it allows me to use even small scraps, and the work is entirely manual, without using a sewing machine. It is a silent, patient technique that always offers surprises. I also appreciate its sculptural potential.
Iqôn In Cabin Fever, best anecdote
At that time, I regularly participated in various designer markets, all over the place and especially in Berlin. For me, designer markets have several advantages: they allow designers to earn a living, to test their offer and the reception of the pieces by the customers in a very direct and quite dialectic relationship with the customers who thus become a concrete interlocutor. I think that this experience was incredibly formative for me, even if sometimes there were also negative experiences. In general, it was an enriching experience and it also allowed me to start living from my work little by little.
Iqôn In Cabin Fever, follow up
With this collection, we did several Fashion Shows during Berlin Fashion Week and at Erki Moeshow in Estonia and at the Fashion Clash Maastricht.
And finally, a really beautiful Editorial from Valquire Veljkovic.
