Past at Last Mōhiti Toitū nā Tihana Miksa

Ko te hoahoa Past at Last Mōhiti Toitū nā Tihana Miksa he kaitoa whakahirahira o te 2021 A' Design Award Hiriwa i te Wāhanga Whakataetae Hoahoa Kākahu, Āhua me te Kākahu.

HiriwaKākahu· 2021

Past at Last Mōhiti Toitū

nā Tihana Miksa

Kiritaki: Tihana Mikša

Kaitoa o te A' Design Award Hiriwa i te Wāhanga Kākahu

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Torohia te Pae Tirohia i te A' Design Award Pānui Pāpāho Tohu Tohu

Ngā Tae

Te Hoahoa

Mō Past at Last Mōhiti Toitū

Ko te whakatairanga i roto i ngā whakaritenga kākahu ko ngā kakano kanakana, tākaro me te tae rerekē. Nā konei, ko ngā kākahu anō he hāngai ōrite, he māmā, he āhua kopi, kāore he whakauru uaua ki te hanganga. Ka aromātai ēnei mea i te tirohanga, te pānga ā-ringa, te āhuatanga rawa, te nekehanga ora me te hanga anga o ngā whenu. He iti te kaha o ngā tae, he kore tae anō hoki, engari ko ngā tae whero e pīkari ana i roto i tēnei āwhata mākoko.

Te Whakamihi

Mō te A' Design Award Hiriwa

Ko Past at Last Mōhiti Toitū te toa o te A' Design Award Hiriwa, he whakaaetanga tino whai mana e hoatu ana ki ngā hoahoa taumata teitei rawa, ātaahua me te whakamīharo. Ko ngā toa Hiriwa he mahi tino kanapa, tino auaha e whakaatu ana i te mātanga, te pūmanawa me te mōhio hōhonu o ā rātou kaihoahoa. E tūmanakohia ana ko Past at Last Mōhiti Toitū he mahi whakamīharo, he tauira, he tino ngaio, he auaha hōhonu. Ko tēnei hoahoa i toa i te Hiriwa he hanganga rongonui, whakamīharotia e whai wāhi ana ki te whakawhānui i ngā rohe o te toi, te pūtaiao, te hoahoa me te hangarau. Ko Past at Last Mōhiti Toitū he mahi e hae ana te tini, e whakaara ana i ngā hiahia, e kawe mai ana i ngā kare-ā-roto pai, ā, e whakaoho ana i te mīharo.

I Muri i te Hoahoa

Kete Pāpāho

Ngā whakamihi, ngā mema o te rōpū me ngā taipitopito hangarau i whakaratohia e te kaihoahoa.

Āhuatanga Motuhake: The emphasis in the clothing compositions is on rich, playful textures and uneven coloration. As a consequence, the garments themselves are symmetrical, simple and closed forms without any demanding interventions to the structure. These objects examine the visual aspect, tactility, materiality, living motion and the architectonics of textiles.
The colours are low in intensity and achromatic, except reds that pulsate within this pale spectrum.
Tūtohu: basketry,wool,mould,seamless,textile,handpainted,handmade, handpleating, sashiko, nuno felting,aperture, finishes
Hangarau Whakanao: The textile is structured through various pleating techniques, improper and proper stitching, hand tinting to achieve noble tones, treatment with acids, wax, burning, patching, sandpapering, drilling, basket-making and finishes.
Wero Hoahoa: Perhaps this no longer matters, but we still care about values, about something that goes beyond our mere existence in the here and now, even when it comes to dressing. What we use to shroud our body, how we seem and appear in front of others, and what we communicate and convey in this manner, this will continue to matter about as long as we share this world with others.
Tihana Mikša Perković is aware of this, and in her quest for clothing worthy of man she intervenes in history as well as in modernity, in the continuity of life finding the only real source of inspiration. Her inspiration are folk costumes from Croatian regions which she interprets in a contemporary key, by applying contemporary textile processing techniques.
Whakaaweawe: The man of tradition is closely linked to the rural way of life, as can be seen from the regional diversity that result from geographical location and the set of natural givens.
It was my intention to follow in the footsteps of our ancestors and to commit myself in a contemplative and repetitive, as well as time-consuming manner to the overall creation of each costume. In actual fact, my intention was to slow down, to be part of the process, and not just a consumer of finished impersonal and alienated clothing.
Roanga o te Kaupapa: 10.03.-26.03.2016., Zagreb, Ulupuh Gallery
Whakamana Whakaahua: Photo Vanja Šolin
Hairdress and make up Dalibor Šakić
Model Hana F.M.