Past at Last Aṣọ Alagbero láti ọwọ́ Tihana Miksa

Past at Last Aṣọ Alagbero láti ọwọ́ Tihana Miksa jẹ́ aṣẹ́gun olókìkí púpọ̀ ti 2021 Àmì-ẹ̀yẹ Fàdákà A' Design Award nínú Ẹ̀ka Ìdíje Àpẹẹrẹ Àṣà Ìmúra, Aṣọ àti Ẹ̀wù.

FàdákàÀṣà Ìmúra· 2021

Past at Last Aṣọ Alagbero

látọ̀wọ́ Tihana Miksa

Oníbàárà: Tihana Mikša

Aṣẹ́gun Àmì-ẹ̀yẹ Fàdákà A' Design Award nínú Ẹ̀ka Àṣà Ìmúra

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Ṣàbẹ̀wò Ojú Òpó Wo ní A' Design Award Ìwé Ìròyìn Àmì Ẹ̀yẹ

Àwọ̀

Àpẹrẹ Náà

Nípa Past at Last Aṣọ Alagbero

Ifọkansi ninu awọn apẹrẹ aṣọ wa lori awọn ọya ọlọrọ ti o si ndun, ati awọ ti ko dọgba. Nitori eyi, awọn aṣọ funrararẹ jẹ dodogba, ti o rọrun ati awọn apẹrẹ pipade laisi eyikeyi idasi pataki si eto naa. Awọn nkan wọnyi n ṣayẹwo oju-aaye wiwo, ifọwọkan, iseda ohun-elo, gbigbe alaaye ati ilana-kikọ awọn aṣọ. Awọn awọ naa kere ni agbara ati pe wọn jẹ alakoawọ, ayafi awọ pupa ti o nlu laarin akojopo fẹẹrẹfẹ yii.

Ìdánimọ̀ Náà

Nípa Àmì-ẹ̀yẹ Fàdákà A' Design Award

Past at Last Aṣọ Alagbero jẹ́ olùborí Àmì-ẹ̀yẹ Fàdákà A' Design Award, ìdánimọ̀ onípọ̀nlé lọ́nà àrà ọ̀tọ̀ tí a fún àwọn àwòṣe ìpele gíga jùlọ tó dára tó sì ń kan ọkàn. Àwọn olùborí Fàdákà jẹ́ àwọn iṣẹ́ tó ń tàn yòò gidigidi tó sì ní ìṣẹ̀dá púpọ̀ tí wọ́n ń ṣàfihàn ìmọ̀ ìjìnlẹ̀, ẹ̀bùn àti ìmọ̀ràn àwọn olùṣàwòṣe wọn. A retí pé Past at Last Aṣọ Alagbero yóò jẹ́ iṣẹ́ àgbàyanu, àpẹẹrẹ rere, ti ọ̀jáfáfá lọ́nà tó ṣe pàtàkì tó sì ní ìmúṣẹ̀dá tuntun jinlẹ̀. Àwòṣe tó borí Àmì-ẹ̀yẹ Fàdákà A' Design Award yìí jẹ́ ohun ìmúṣẹ̀dá tó hàn gbangba gidigidi tí a mọrírì tó ń ṣe anfàní tó sì ń tì ààlà iṣẹ́ ọnà, sáyẹ́ǹsì, àwòṣe àti ìmọ̀-ẹ̀rọ síwájú. Past at Last Aṣọ Alagbero jẹ́ ẹ̀dá tí ọ̀pọ̀lọpọ̀ ń ṣe ìlara, tó ń jí ìfẹ́ inú, tó ń mú ìmọ̀lára rere wá tó sì ń jí ìyàlẹ́nu àti ìyanu.

Lẹ́yìn Àpẹrẹ Náà

Àkójọ Ìròyìn

Àwọn ẹ̀tọ́, àwọn ọmọ ẹgbẹ́ àti àlàyé ìmọ̀ ẹ̀rọ tí olùṣàpẹrẹ pèsè.

Àwọn Ohun Àkànṣe: 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.
Àwọn Àkọlé: basketry,wool,mould,seamless,textile,handpainted,handmade, handpleating, sashiko, nuno felting,aperture, finishes
Ìmọ̀-ẹ̀rọ Ìṣelọ́pọ̀: 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.
Ìpèníjà Àpèsè: 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.
Ìmísí: 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.
Àkókò Iṣẹ́ Àkànṣe: 10.03.-26.03.2016., Zagreb, Ulupuh Gallery
Ìfọwọ́sí Àwòrán: Photo Vanja Šolin
Hairdress and make up Dalibor Šakić
Model Hana F.M.