<\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n\nIq\u00f4n In Cabin Fever… Origins of the Collection<\/h2>\n
Iq\u00f4n In Cabin Fever<\/strong> is a collection of one-of-a-kind garments handcrafted by Tata Christiane from upcycled leather remnants, vintage scarves, and intricate crochet patchwork. Born during a creative journey to Kiev with photographer Daria Marchik<\/a> for the Gogol Festival \u2014 and shaped by a powerful encounter with Danila Polyakov, the Russian icon of melancholic and extravagant fashion \u2014 this Fall-Winter collection fuses sacred imagery with pop iconography. It explores the tension between inner serenity and public spectacle, between devotion and absurdity. Inspired by the claustrophobic emotion behind the song Cabin Fever<\/em> by The Brian Jonestown Massacre<\/a>, the collection becomes a reflection on isolation, transformation, and the surreal beauty found in contradiction. These garments are more than clothes \u2014 they are ritual objects<\/strong>, sewn in silence and crafted in fragments, carrying with them a slow, sculptural energy and a sense of reverent irreverence.<\/p>\n Iq\u00f4n 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,\u00a0 that is appropriate for every person, and its confrontation with the outside which sometimes confines him in a kind of madness of inadequacy. 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.<\/p>\n It\u2019s 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 the other solutions was to glean fabrics from vintage<\/a> 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. 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\u00a0patchwork technique<\/a>. 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.<\/p>\n 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.<\/p>\n<\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n\nIcons, Pop, and the Paradox of Peace<\/h2>\n
\nThe uniqueness of the icon and its work handmade in a workshop is a reference for the realization of unique pieces in the fashion.<\/p>\n<\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n\nIq\u00f4n In Cabin Fever… A Craft Built in Fragments<\/h3>\n
<\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n\nIq\u00f4n In Cabin Fever… Sourcing and Material Rituals<\/h3>\n
\nOne 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.<\/p>\n<\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n\n
\nThis resource work was like a treasure hunt.<\/p>\n<\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n\nIq\u00f4n In Cabin Fever… Patchwork as Sculpture<\/h3>\n
<\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n\nIq\u00f4n In Cabin Fever… Designer Markets and Real Feedback<\/h3>\n