By definition, Berlin is a liberal city, a city that dares to change and progress. In art nothing is censored and the cultural character of the city is largely defined by its art scene. Artists are encouraged to experiment and embrace new movements and young talent. Despite its years of turbulent history Berlin is an inspiration for many artists; the kind of city where the crossover of art, film, design and music becomes a reality. By what of its fashion scene?
Although Germany is one of Europe’s biggest markets, it is hardly known for its high fashion. The fall of the Berlin wall more than 20 years ago created a fresh fashion identity, albeit one with a dual personality. Big business in is streetwear and commercial fashion, particularly high-end luxury brands like Escada and Hugo Boss, but its fashion is also characterised by independent and unusual creations, like that from Vladimir Karaleev, a Bulgarian born, Berlin-based designer. His clothes are sculptural, complex, conceptual. Canvas spoke with Vladimir after the presentation of his winter collection, Pro Forma.
CANVAS: You have said your designs are influenced by art but I also see your work as architectural. What is your view on the relationship between fashion and art and architecture? Do you consider yourself a philosopher of design?
VLADIMIR: Well, in all three: art, architecture and fashion there is similar process of creating that is common. It’s about forms, shapes, composition, colour and if possible, a concept. The purposes are different. Above all of them, architecture is most practical, in its purpose. It has to combine functionality with design in most of the cases. Then comes fashion I think, having the aesthetic purpose on the surface, covering the body, but at the same time having a function of protecting it. It is very variable, dependable and subjective. And finally, art is something which has no purpose in the end. It exists for itself, it is not meant to be a decoration, but it’s not meant to have function either. I guess it’s another dimension. But the question of the relationship between fashion and art: I realised there is only a kind of fake visual relationship, because I think fashion could LOOK like art, but it cannot be as radical as art in its core… and on the other side both are mirroring a certain “zeitgeist”, which makes both social.
Your models stood still during your A/W presentation. Is it important to present your ideas as a performance piece?
I like the atmosphere of a static presentation. It’s a kind of 3d magazine spread, and has of course something theatric, and also something of an exhibition. Which make the clothes look a bit abstract!
You have described your winter collection, Pro Forma, as neither functional nor decorative. Are you trying avoid the commercial business of fashion by making clothes that appeal to a very niche market?
I like when people find things interesting because of the design itself and not because of the label, or the hype. That’s why also the title “pro forma”, for the form (shape), because of this certain unknown form, and not buying things pro forma. Commercial fashion happens pro forma, its always spring/summer or fall/winter. I don’t want to design pro forma, but FOR the form /shape itself. My clothes are still very wearable; its about getting use to a “new shape”. I like to see something new as a shape (form), and with time, getting use to it. It is also how the big fashion business works. First there is something that people don’t really accept but after a couple of years the same thing goes mainstream.
Avoiding definition and focusing shape on different parts of the body is reminiscent of Kawakubo in her ‘97 collection Body Meets Dress Meets Body. Is the avant-garde approach of the Japanese designers an influence on your work?
Yes definitely. I guess it was my personal awakening as I first saw Kawakubo’s pieces in the ‘90s. I come from Bulgaria, a land with a very poor cultural background, in which there were nothing except mainstream fashion (which was actually also bad taste). Things always had their stereotypes: food makes you full, form follows function, fashion has to be practical and wearable and art is a kind of a decoration, which it’s purpose at first was political, then it turned only into decoration. And then I saw Comme Des Garcons, and I discovered a whole new perspective for myself (well I was 14 at that time, but it impressed me so much, I guess it followed me all the way).
Have you always lived and studied in Berlin? Is there an energy in the city that keeps you there?
I moved here 2001 at the age of 19. It was a key moment in my life and as you say “energy” is the right word, that keeps me here. I feel free here. Free to work without having financial pressure for example, because Berlin is so affordable. And there is a huge art scene, and in general so many scenes and so many people going through Berlin. And in another way, it is sometimes so quiet and empty. I work often till very late at my studio and take a walk home. My studio is in the commercial “city” of Berlin, which is very busy in the daytime. At night it is beautiful, like an empty stage with no actors and no audience!
What is your feeling of the fashion scene in Berlin? For me, personally, I associate the city with a strong art scene, rather than fashion. Is there an ‘underground’ scene to speak of in fashion - a lot of independent labels like your own?
That’s a good question. And yes, your feeling is right, the art scene is much bigger and more interesting in its own way. Often a lot of artists move to Berlin because they don’t want to have the financial pressure of New york or London, where they have to make art, which has to be sold so that they can pay their rent. Therefore there are a lot of small galleries which are quite interesting, showing unknown artists. As for the fashion scene, it is a bit different. In the last ten years Berlin got its status as a creative, underground platform for fashion, but it mutated in some strange direction. At the beginning, all the DIY stuff was very interesting, and there were a lot of small labels popping up but they soon disappeared, which was kind of annoying for a lot of buyers, editors or stylists coming from outside because nobody knew if there would be there next season. And the other thing is this identity problem. Nobody is really sure if there is a real Berlin fashion, and if there is, what is it? I don’t want to sound rude but often it is something in between. [It's both] commercial and underground, [but there's] not enough concept to be independent. The fashion week turned in a strange direction [this year], I’m afraid. Last time there were shiny catwalks, pseudo-fancy after parties with wannabe local celebrities, and the fashion was a background of it all, and above all there was fashion without any identity; some old German brands, mixed with student fashion, mixed with fur coats, mixed with some kind of fetish… does it makes any sense to you? And again, I don’t want to sound pretentious, yes, there are a few small good labels, which I consider very interesting, but there are not enough to create an independent fashion scene.
