'I am ridiculing an outdated view or expression of power.” Norwegian designer Anne Karine Thorbjørnsen debuts a fashion manifesto in seven looks.
Anne Karine Thorbjørnsen: Hyperfemiconsciously hit the pause button in October 2019, long before COVID-19 did the same for the rest of us. This was largely an artistic and moral decision, a rejection of the fashion system that prioritizes the bottom line over creativity and values. Thorbjørnsen refuses to accept that sales are the definition of success or failure. Her definition of achievement is more personal. “For me, success is not measured by others, but by myself.
The tipping point was the spring 2020 season . Continuing in the way she had been was untenable: “I was overworked and I was compromising on how I wanted to work,” the designer says. “I decided I [didn’t] want to be on this treadmill anymore.” Thjorbjørnsen stepped off it not knowing when or if she would pick up the pace of fashion again. With time, the designer’s desire to create returned. An invitation to do something atNo title. Work in progress.
If this all sounds a bit Martin Margiela-ish, it was. Each of the seven looks the designer showed represented an essential strand of her aesthetic DNA. “Margiela,” says Thorbjørnsen, “is my hero. I think that’s quite obvious, and this time I also let it be way more blatantly obvious because this project is introspective. I’m looking in on my own practice and my own work and my own references, so I allowed him to be way more visible than normal.
Alongside sculptural torsos were molded breasts and earrings with dangling fingers, or parts of them. The effect wasn’t gory, but it was not unsettling either. These pieces, she notes, were made in the early stages in the pandemic. A time when human contact was potentially dangerous, as it remains to be.
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