All over the world there are schemes that help support and nurture the fledgling talents of fashion.
Today in Copenhagen, the finalists of theAlpha Prize(formerly Designers Nest) were announced.
Though they are facing an increasingly challenging landscape, none of them have chosen to take the safe route.
From left:Designs by Abbas Mandegar, Asger Beyer, Pierre Westerholm, and Lauri Greis.
There are no traces of quiet luxury here, but there are references to folk costume and active sport.
What are the criteria you use in selecting the panelists?
Design skills, collection coherence, originality, creativity, and responsibility.
One of the designer’s “wearable knitted sculptures.”
Have those metrics changed over time?
Many Covid-era collections were focused on identity and trauma.
Do you feel this has changed?
On theirInstagram, thedesignerdescribes the “denim trompe l’oeil process [pictured here and consisting of] 4 layers of tulle (two sky blues for the bleached denim effect, one ivory tulle for the cotton yarn, one navy blue to create a twill effect) piqued onto a layer of cotton organdie for support and comfort.”
You write that the focus of this group is on shape and material.
Can you give some examples?
Petra Lehtinen merges design and sustainability by incorporating various techniques.
A look from the designer’s “Karelian Sportslore”collection, the starting point for which was his grandmother’s folk costume.
What are the particular challenges facing Nordic designers?
Is the support Alpha provides intended to help these designers become brands?
Some designers want to work for other brands, and we connect them with labels and recruiters.
The designer’s double-bonded cottonTwo Box Dress.
Whats the blueprint for building a brand in this challenging environment?
Yeruul Ariunsansar, The Swedish School of Textiles
One of the designers wearable knitted sculptures.
Kathrine Kirk, The Royal Danish Academy
The designers double-bonded cottonTwo Box Dress.
OnInstagram, the designer describes this look as a “monofilament knit gown and pants [with] iron waist jewel and silver earrings.”
Yu-Chen Lin, Aalto University
Knitwear and repair informed Yu-Chen Linscollection.
Pierre Westerholm, Beckmans College of Design
A look made using a plant-based material,BioPuffby Ponda.
Petra Lehtinen took consumerism and clothing storage as archive as the starting point for hercollection.
Knitwear and repair informed Yu-Chen Lin’scollection.
Titled Made in Pakistan, thiscollectionwas based on Mandegar’s own, painful experience in the garment industry and through it, he wrote, “I express these intense emotions and share a part of my journey from a child laborer to a designer.”
The designerdescribesthis look thus: “Needle felted mohair embellished inside out duffle cape, with striped jersey fringe dress, knitted tubular headpiece, and carica 3D-printed eyewear.”
A look made using a plant-based material,BioPuffby Ponda.
