WHAT CLASHED AT FASHION CLASH: 2024 RECAP

Heavy skies, rain, cobblestone streets, and medieval buildings. Maastricht offers an ambiance scarcely felt in other Dutch cities. This unique setting served as the stage for the 16th edition of the Fashion Clash Festival, where over 100 designers and artists from more than 20 countries came together upon 13 distinct locations in the city.

Beyond Amsterdam, the Netherlands rarely comes to mind as being a strong influence on the global fashion scene. A feeling echoed by some German and Italian students with whom we shared a cigarette. They were pleasantly surprised to see the festival taking place in their adoptive city, as normally “Maastricht isn’t really known for the way people dress, it's mostly old people and business students here, and they all wear the same Patagonia vests and chinos.” 

The first impression we had of Fashion Clash was that it is different. Different from most fashion events, which carry a reputation for being inaccessible, just take the "Big Four" fashion weeks: Paris, New York, London, and Milan. For designers, showcasing work typically requires affiliation with an established brand and powerful industry connections. For guests, attendance is often unattainable due to similar financial and social barriers. This exclusivity is central to the appeal of such events. They thrive on their elite allure, drawing the influential and affluent eager to be seen alongside the major creative forces of the era. While signs of democratization are appearing within the industry, the lingering associations with social alienation and pretentiousness remain hard to ignore.

Additionally, the consolidation and merging of large brands, combined with a growing awareness of global humanitarian crises, transparency issues, and sustainability concerns, have many young designers and emerging movements aim for alternative methods of exposure. The result is a fashion industry struggling for relevance in the eyes of a younger audience. 

During this weekend, a very different idea of what a fashion festival could be took shape. Accessibility and refreshing amateurism defined Fashion Clash (FC): participation in events was affordable, with ticket prices at just €5, or in most cases free. Many of the designers were making their debuts fresh out of university or in some cases still completing their studies. Branko Popovic, Co-founder and Artistic Director of Fashion Clash, mentioned that each iteration of the festival is essentially reimagined and conceptualized from scratch, based on that year’s participating designers. This would be an impossible feat without the help of Mestreechteneers (the local inhabitants of Maastricht) as well as the friends and families of the artists. 

The sentiment of community inclusion was exemplified through “Herd”, a performance by Paula Dissinger. Here, onlookers witnessed a large group of performers clad in shapeless red bodysuits, distinguished only by individual accessories, marching around Plein 1992 in front of the Centre Céramique. 

At times, clusters of performers would spontaneously form, accelerating by a shared momentum, only to dissipate into aimless wandering until a new wave would form. Others walked alone, marching to their own rhythm, observing the groups from a distance but sticking to their path. 

Many of the participants were friends, family members, and locals performing for the first time. This deliberate amateurism added a sense of authenticity, as their displacements felt natural and reactive, constantly adapting to those around them. We found this piece to be a poignant embodiment of human behavior, specifically the desire to conform to trends. 

We saw the inclusion of locals as evidence of a more holistic form of sustainability, one that understands the need for a balance between affordability, environmental awareness, and community engagement. In fashion, sustainability efforts are too often confined to the production process. Whilst this represents an important step away from the exploitative practices of fast fashion retailers, ultimately, production is merely one dimension towards becoming sustainable. 

FC’s approach recognized the need for fashion to address sustainability from multiple perspectives. While sustainable production was a clear priority for many designers, equal attention was given to financial, creative, and aesthetic sustainability, alongside community engagement and the importance of transcending fleeting micro-trends. 

This ethos was most obvious in the pop-up store, where designers were given stands to showcase and sell their creations. The enthusiasm they had for their craft was reflected by the quality of their designs.

The commitment to upholding their moral principles, even when faced with significant financial challenges, was truly remarkable. When asked why she chooses not to outsource her production, C. Pouki explained: “Just because we’re young doesn’t mean we need others to do everything for us. I was taught how to sew in fashion school, but now everyone tells me I’m crazy for doing it myself.”

Pouki creates multifunctional bags designed to attach to bikes, belts, and wheelchairs. They feature bold colors and an eclectic mix of textures, fabrics, and patterns. Her decision to produce them herself comes from her desire to be able to make a customizable and sustainable product. 

Linfin also advocated for the quality that comes from re-localized production, as opposed to distant outsourcing: “Most Leather bags that are advertised as 100% produced in Europe still import components like zippers and handles from China. Our bags are assembled with the help of the local retirement community. Many of them already know how to sew as it was a common skill in their time. We even have a former surgeon on the team!” 

Similarly, Liquid Lemn shared with us their enthusiasm for the community building capabilities of fashion. They create new dialogs for inclusivity and social justice in Kenya whilst building an international brand that utilises community based production. Their signature unisex Afro-futurist kimonos, crafted from locally and traditionally produced fabrics, are sold alongside other affordable products through their online store as well as physical pop-up stores in both Europe and Africa. 

Although FC featured a great deal of diversity amongst fashion styles, ranging from sweaters embroidered with memes to bags crafted with baby dolls, it also stood out for its inclusivity across age groups and those with differing degrees of experience. Though the emphasis was clearly set on the vision and awareness brought by young designers, the presence of the Body project by Chequita Nahar, Anke Huyben, and Katja Prins also gave space for well experienced artists, showcasing the value the festival placed on collaboration and cross-contamination between groups of varying experience and age. 

The trio, all classically trained jewelers, brought a satisfying contrast to the predominantly textile-based exhibitions. We had the opportunity to speak with Chequita Nahar, who explained their guiding questions as “What is contemporary jewelry?" and "What is missing in jewelry craftsmanship?" These questions led them to invite 20+ artists to re-interpret the meaning of jewelry and its boundaries. Through this inquiry, The Body Project explored the ways jewelry can represent the body, serve as a form of self-expression, and challenge the line between where body and ornamentation is drawn.

Works from THE BODY COLLECTIVE exhibition. Images: MICHA BRAAKSMA 

When speaking with the creators of Cadavre Exquis, an installation featured in the New Fashion Narratives exhibition, we were introduced to the concept of “forced collaboration." They asked designers to create as they usually would, only to have their works stitched together by the curators. This process symbolized the necessity of collaboration.

As the conversation continued, we began to see how Fashion Clash itself operates similarly to one big forced collaboration. Given the immense diversity in styles, perspectives and professional experience, the perception of an individual work was constantly re-contextualized by those around it, forming an optimistic narrative as to how fashion can improve society from which the mentality of the festival emerged. 

We learned that the “clash” in Fashion Clash stands for fashion clashing with the real world; the festival succeeded in embodying this mission. It offered a pragmatic yet creative engagement with societal complexities through fashion, all while remaining accessible and leaving space for the exploration of art for the sake of it. The engagement of so many designers, each bringing their unique styles, backgrounds, and objectives was immensely exciting. Their optimism, awareness, and talent was on full display, and left us eager to see how this new generation of designers will influence the future of (high) fashion at home and abroad.

Words AUGUSTE VAN YSSELDIJK & SOFIA MANETTI

Images MICHA BRAAKSMA

Date 16/12/2024