Shifting Patterns

An individual state leading to a deep loss of meaning and a sense of the world's meaninglessness can be caused either by a series of fateful events leading to a strong sense of melancholy or by sudden insights into the insignificance of one's own existence while facing the universe's indifference.

In his 2000 essay "Melancholy and the Act", Slovenian philosopher Slavoj Žižek explores the complex connections between melancholy and action in human psychology and the social context. He challenges the conventional idea of melancholy as a purely passive or paralyzing state, arguing instead for a more profound analysis of this emotional condition. Žižek claims that melancholy is a special form of pain and sadness, often considered a state of stagnation and powerlessness. Contrary to this common perception, he argues that melancholy contains an unrecognized potential for action.

According to Žižek, melancholy can be an internal catalyst that stimulates individuals to look beyond existing limits and norms, developing new perspectives. The crux of his argument lies in the idea that, paradoxically, melancholy involves a kind of activity. It can be a source of creativity, leading people to engage more deeply with their suffering and derive new insights and energy. This process can result in transformative actions, whether on a personal level through self-reflection and self-overcoming or on a societal level through the pursuit of change and innovation.

This realization can lead to a profound alienation from one's own existence, potentially extending to thoughts of suicide. It often arises from the incompatibility between expected outcomes or the meaning of life and the actual chaotic nature of existence. This discrepancy can cause deep uncertainty and frustrate the search for a concrete life purpose.

Romanian philosopher Emil Cioran often grappled with the question of whether life is worth living in his writings. The depressions and insomnia he suffered from an early age strongly influenced his first book, "On the Heights of Despair," published in 1934. Cioran was obsessed with the idea of suicide, critically engaging with it in his aphorisms and essays. He argued that contemplating suicide is necessary for leading a better life. By confronting suicide, we confront the profound suffering associated with existence. This humility enables us to change the deepest aspects of ourselves.

Simultaneously, it reminds us that our peculiar human ability to contemplate suicide elevates us above everything else in nature or heaven. Cioran believed that failure governs the world, similar to the capricious God of the Old Testament. Despite his pessimism, actual skepticism, and nihilism, Cioran remained joyous in a peculiar way. It is not a pessimism that can be traced back to simple origins, as individual origins themselves are questionable.Most people go about their daily routines without being aware of the profound absurdity and randomness of their lives. They live in a system of cause and effect that provides a certain predictability and security. These people rarely experience their lives as a tragedy.

French writer and philosopher Albert Camus notes that most human actions are based on a logical error that ultimately leads to a loss of meaning. This loss of meaning can lead to self-doubt and a deep sense of meaninglessness that weakens motivation for personal endeavors.

The idea of suicide as a response to the absurdity of life, however, is considered by Camus, in contrast to Cioran, as a surrender to the incomprehensibility of the world. He argues that a stronger and more authentic stance is to be aware of the absurdity of life and still choose to live. Suicide is seen as an admission of the inability to understand or endure life. Camus uses the metaphor of Sisyphus to illustrate how one can confront the absurdity of life. Sisyphus is condemned to roll a rock up the hill, only to see it roll down again repeatedly. Despite the apparent futility of this task and the absurdity of his existence, Sisyphus finds happiness and joy in this act. He rebels against the absurdity by despising it but simultaneously accepts it.

In the intricate web of existential musings we find a rich tapestry of perspectives on the human experience—ranging from the transformative potential within melancholy to the contemplation of suicide as a confrontation with life's inherent suffering, and finally, the defiant acceptance of the absurd. As we navigate this intellectual terrain, one overarching theme emerges: the profound beauty inherent in the struggle for meaning and the authentic experience of human existence.

Žižek urges us to reconsider melancholy not as a paralyzing force, but as a catalyst for innovation and societal change. Cioran's dark fascination with suicide invites us to confront the depths of our suffering, recognizing that in such confrontation lies the potential for profound transformation. In contrast, Camus advocates for a resilient defiance against the absurdity of life, finding joy in the very act of rebellion. Ultimately, these philosophical perspectives converge on a shared insight: that life's inherent absurdity need not lead to despair or resignation. Instead, the human spirit possesses the remarkable capacity to extract meaning from the seemingly chaotic and random nature of existence. In the daily struggle, in the pursuit of understanding and compassion, lies the essence of our shared humanity.

As we grapple with the existential questions posed by these philosophers, let us not merely dwell on the challenges and uncertainties but embrace the beauty of our collective journey. In the face of life's absurdities, we discover the resilience to persevere, the courage to confront our deepest fears, and the capacity to find solace in the shared human experience. The pursuit of meaning, in all its complexity, becomes a testament to the indomitable spirit that propels us forward, even in the shadow of existential uncertainty. In this view, it is crucial for people to continue living despite the absurdity of life and become aware of human conditions to develop compassion for the suffering of others.

Despite the apparent absurdity of life, beauty lies in the daily struggle and in the moments of genuine experience that human existence has to offer.

Continuing since part one of this article was simply too long.

/// Luca Laurini Luca Laurini, distinguished from his peers Cecchetto and Amadei, directs his focus exclusively on clothing within his label Under Construction, eschewing leather and accessories entirely. Established in 2003, Under Construction stands out as one of the most prominent among the four labels spearheaded by the former Carpe Diem design team. While guided by Altieri at Carpe Diem, Laurini honed his skills in knitwear, and his vision for the craft of knitwear and ready-to-wear fashion crystallized during the creation of L'Maltieri and Linea.

Unfortunately I couldn't find any picture of Laurini himself. More space for his creations!

Carpe Diem's prior emphasis on leather processing provided Laurini with the platform to express his ideas about knitwear and ready-to-wear pieces in a manner that was both disruptive and experimental. Post-Carpe Diem, Laurini founded Under Construction with the explicit intent of challenging conventional perceptions of knitwear. The label's name itself implies that Laurini's collection consists of pieces intentionally designed to appear seemingly unfinished. Employing modern technologies and adopting an architectural approach, Laurini's designs are characterized by modern tailoring and urban minimalism.

The Under Construction collection spans from unconventional white T-shirts with uneven seams to black button-down shirts featuring non-traditional stitches. It includes tapered pants with flared crotches and gathered ankles. Laurini remains true to his roots, paying homage to Carpe Diem with a long-sleeved shirt adorned with a blue and white print reminiscent of muscle fibers. These garments embody the philosophy of Label Under Construction, marked by the fusion of technology and architecture with a steadfast focus on craftsmanship.

Through his label Under Construction, Luca Laurini demonstrates that, despite the absence of leather and accessories, he has the ability to craft an impressive array of modern and urban clothing pieces. These pieces stand out for their intentional imperfections and artisanal refinement, showcasing Laurini's commitment to pushing the boundaries of conventional fashion norms.

Sara Lanzi Sara Lanzi, perhaps the lesser-known member of the Carpe Diem family, specializes in the transformative art of clothing, driven by her deep appreciation for knitwear. Serving as the steward of the Linea label at Carpe Diem from 1999 to 2003, Lanzi, a former student of contemporary art, sees the human body not merely as a reference point but as an object for "essential and transformative pieces." Her foray into the fashion world commenced with the presentation of her eponymous women's fashion collection in Paris in 2004.

Lanzi's overarching goal is to harmonize aesthetics and functionality, manifested through monochrome pieces with a strong emphasis on versatility. The Fall/Winter collection of 2006 showcased her innovative prowess, featuring garments that could be worn in various ways—a knee-length dress with a scarf serving as a sleeve or an unevenly draped ribbed tank that seamlessly transformed into a sweater with a collar. Another notable creation was Lanzi's A-line velvet dress, radiating monastic elegance from the front yet revealing a seductively transgressive deep back neckline upon closer inspection.

Sara Lanzi's current collections adhere to a similar concept, accentuating the duality of garments with a more subdued look tailored for the "natural woman." Lanzi's designs exemplify her ability to seamlessly unite aesthetics and functionality, highlighting the duality and versatility of clothing as mediums for personal style and self-expression. Despite her relatively lower recognition within the Carpe Diem family, Sara Lanzi has carved out a distinct place in avant-garde fashion through her inventive approach to knitwear and fashion, proving that her creative ingenuity transcends the boundaries of conventional recognition.

Taichi Murakami (Honorable Mention) Taichi Murakami, the former pattern maker at M.A+ and the founder of his eponymous brand, stands as a prominent figure in the realm of avant-garde fashion. In the mid-2000s, the Gothic clothing movement (here's a brief reference to my blog article "How Post-Punk Influenced Nowadays Fashion") served as a global inspiration for designers, including Rick Owens in North America, and labels such as Julius, Attachment, Devoa, and The Viridi-Anne. While many of these designers share a lineage with Carpe Diem in some way, Taichi Murakami distinguishes himself through his unique and innovative work.

During his studies in Tokyo, Murakami gained experience at Lift, a multi-brand boutique in Daikanyama known for its artisanal brands like Carol Christian Poell and M.A+. Fascinated by Maurizio Amadei's intricate patterns at M.A+, Murakami aspired to work there one day. His goal became a reality after completing his studies when he secured a scholarship to study pattern making in Milan. In 2009, he joined Amadei as a pattern maker at M.A+, where he imbibed a flexible approach to the design process, a departure from the strict Japanese mentality. Amadei's encouragement for Murakami to experiment beyond traditional limits, creating prototypes from various materials, became a formative aspect of his creative journey.

After gaining valuable experience at M.A+, Murakami felt prepared to establish his own fashion line. In 2012, he unveiled his inaugural collection in Tokyo. Murakami identifies more as a clothing developer than a conventional designer, displaying an obsessive commitment to sourcing the right materials before embarking on the design process. With local connections granting him access to adventurous fabric manufacturers, Murakami's refined patterning adapts to the behavior of each fabric, allowing him to shape each piece in unique ways—resulting in garments that are truly one-of-a-kind.

Taichi Murakami's distinctive approach resonates throughout his collections, positioning him as a fitting successor to Altieri and Amadei's design ethos. His work epitomizes a successful fusion of traditional craftsmanship, experimental design, and the freedom to challenge established norms, marking him as a trailblazer in the avant-garde fashion landscape.

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Carpe Diem's indelible mark on artisanal fashion stands as a testament to Altieri's visionary leadership and the collective creativity of its members. Despite the surging interest in artisanal avant-garde fashion, the prospect of a Carpe Diem resurgence remains uncertain. Nevertheless, the dissolution of Carpe Diem has not dimmed the creative fervor of its members. Each, including Altieri with his "Vnapersona" project, ventures beyond the realm of fashion, infusing art into their pursuits.

Altieri, Amadei, Cecchetto, Laurini, and Lanzi have not only pioneered avant-garde fashion but have also left an enduring legacy, fostering a continued influence embraced by various labels and designers. Their artistic imprints endure, evident in contemporary collections two decades later. The Carpe Diem collective remains a pivotal milestone in the annals of artisanal fashion, its impact echoing through time. As we look to the future, the anticipation lingers for potential developments and projects from Altieri and his colleagues, underscoring their perpetual influence on the ever-evolving landscape of creative expression.

In today's article, I want to tell you something about what I consider the most important and influential artist collective in avant-garde fashion.

A collective whose artists, their labels, and their design language have impressed me so much that it has completely changed my perspective on how clothing is created, what its purpose really is, and the impact it can have.

/// Carpe Diem, an avant-garde designer collective, was founded in 1996 in Perugia, Italy, by Maurizio Altieri. There are conflicting reports on the founding year, with sources mentioning 1994, 1998, and 1999 (the latter mentioned by Maurizio Amadei of M.A+ in a podcast with Lucentement). The visionary minds, particularly Maurizio Altieri, initially specialized in leather design, working with materials such as horsehide, cowhide, and anaconda.

These materials underwent intricate hand treatments, including washing, distressing, crushing, and burial in the ground for months. Carpe Diem quickly established itself as an avant-garde trailblazer, gaining recognition for its commitment to quality and craftsmanship. Originally concentrating on shoes, the brand later expanded its offerings to include clothing.

In 2006, Carpe Diem disbanded due to its increasing mainstream popularity, paving the way for other brands to follow its innovative path. This marked the peak of Carpe Diem's fame, with celebrities like Brad Pitt seen wearing their leather shirts. The surge in investor interest eventually led to Maurizio Altieri abandoning the label.

In recent years, Carpe Diem has been acquired by a Japanese company, resulting in the reissue of some designs and the introduction of new ones. However, signs indicate that Altieri and his colleagues are no longer actively involved in the design process.

Carpe Diem's influence extends to avant-garde brands like Carol Christian Poell, Boris Bidjan Saberi, Layer-0, and others, incorporating designs such as twisted seams, dropped-crotch trousers, asymmetric plackets, and J-cut pants. The brand's collections, including L'Maltieri (knitwear), Sartoria (made-to-measure), and Linea (jackets, pants, and T-shirts), aimed to diversify offerings.

The Linea collection, utilizing a 3x3 modular system, features interchangeable and conceptually connected laser-cut jackets, cotton pants, and T-shirts.

Sartoria, a customized line derived from Linea, maintains the "arte povera" aesthetic with crumpled, washed, and treated leather. Custom items required visits to a Parisian garage for fitting and digital photography, and delivery took 60 days, utilizing leather buried in the deserts of Afghanistan.

The distinctive feature of hanging garments on meat hooks pays homage to the label's origins as a leather house. The Sartoria line has evolved into the fifth line named Anatomica, propably my favorite collection of Carpe Diem.

Now, let's introduce the creative minds behind Carpe Diem in detail: Maurizio Altieri Maurizio Altieri, the visionary founder of Carpe Diem, is a perfectionist who brings an academic background in business and law to the world of fashion. His professional journey began at Chrome Hearts, where he honed fundamental skills in craftsmanship and leather treatment. In 1996, Altieri departed from Chrome Hearts to establish Carpe Diem, driven by a philosophy to craft timeless, useful, and handmade pieces from the finest materials.

Altieri's unique approach materialized through the application of distinctive treatments and washes, setting his creations apart. Notably, Maurizio Altieri rejects traditional editorials and advertising, firmly believing that the craftsmanship and quality of his pieces should speak for themselves. This commitment to craftsmanship is vividly demonstrated through a series of collections known as the "Continues Collection," showcasing an enduring dedication to the art of craftsmanship and the creation of timeless fashion experiences. Post-Carpe Diem, Altieri embarked on various projects, including m_moriabc, active in the fashion world since 2012.

Beyond demonstrating Altieri's exceptional talent for creating memorable brand names, m_moriabc is renowned for its handmade footwear crafted through special Norwegian craftsmanship. Altieri's ambitious pursuit involves capturing the essence of time itself in his creations, symbolized by the names A, B, and C, each representing distinct lines that embody aspects of the past, present, and future.

Avantindietro, launched in 2009, stands out as another notable project, offering a minimalist response to Carpe Diem's initial collection. In a collaborative effort two years later, Altieri partnered with Alessio Zero, the Italian designer behind Layer-O, to produce a small offering of shoes made from leather buried years earlier, adding a fascinating narrative to the creations.

Altieri's current venture, the art project Vnapersona, further underscores his dedication to pushing artistic boundaries. Through these endeavors, Maurizio Altieri continues to leave an indelible mark on the fashion landscape, weaving together elements of time, craftsmanship, and innovation.

Maurizio Amadei Maurizio Amadei played a pivotal role in shaping the distinctive identity of Carpe Diem's leather products, encompassing accessories and jackets. During his tenure as a designer at Carpe Diem, Amadei demonstrated a unique exploration of human anatomy, sculpting pieces to follow the lines of the body's muscles. This innovative approach not only left an indelible mark on his designs at Carpe Diem but continued to influence his subsequent work.

Following the conclusion of Carpe Diem in 2006, Maurizio Amadei founded M.A+ as a spiritual successor to the renowned "Continues Collection." The unmistakable parallels between the two collections are evident in Amadei's inaugural M.A+ collection, where a standout piece was a large shoulder bag crafted from a single seamless piece of leather—a hallmark reminiscent of Carpe Diem. The introduction of the cross motif in this collection became the emblem of Amadei's design ethos, defining sought-after pieces like the 925 Sterling Silver Cross Belt.

M.A+ seamlessly carried forward many of the distinctive design techniques for leather while integrating cozy cotton fabrics into seamless one-piece silhouettes. Amadei's deliberate use of blunt knives for cutting and processing garment hems serves as a nod to Altieri's design philosophy. The overarching objective was to envelop the wearer in a second skin—an uncomplicated construction that is seamless yet refined.

In the present day, M.A+ stands out with flawlessly crafted garments in an array of materials such as silk and satin, garnering significant attention for their luxurious functionality. The allure extends to the patterned garments within the M.A+ collection, complementing the outstanding leather and shoe products. Amadei's design DNA is deeply rooted in principles of simplicity and minimalism, with stitches employed only when necessary. This commitment to minimalism is further emphasized by the absence of tags conveying fabric or size information—a testament to Maurizio Amadei's sophistication and meticulous attention to detail in his designs.

Simone Cecchetto Simone Cecchetto, during his tenure at Carpe Diem, brought an exceptional perspective and creative flair to the realm of shoe and accessory design. Influenced by his background in body art, Cecchetto delved into the "Second Body" project of Sartoria or Anatomica at Carpe Diem, an exploration of the concept of leather as a second skin on the human body.

His visionary approach extended to innovative ideas such as integrating chips into leather jumpsuits, enabling the tracking of digital images and movements—a seamless fusion of traditional craftsmanship with modern technological elements.

Despite Maurizio Amadei's primary responsibility for leather goods, Cecchetto collaborated directly with Altieri to optimize their products. Despite lacking formal training as a shoemaker, Cecchetto's deep passion for shaping leather led him to assume the role of footwear design at Carpe Diem, allowing him to preserve the brand's legacy in shoe design.

Following the closure of Carpe Diem, Cecchetto sought refuge at Rick Owens briefly, only to realize a misalignment with Owens' avant-garde aesthetic. This experience served as a catalyst for him to chart his own course, resulting in the establishment of his label, Augusta, later renamed A Diciannoveventitre and A1923. The name Augusta pays homage to his grandmother, embodying the brand's principles of simplicity inherited from her. A1923 revolves around the principle of Wabi-Sabi, a Japanese philosophy seeking beauty in natural irregularities.

Cecchetto's unwavering dedication is evident in the meticulous sourcing and processing of leather, compensating for his lack of formal training with experimentation and craftsmanship. A1923 stands out with its niche offerings, featuring handmade leather shoes and bags for men. The collection includes distinctive elements such as boots with double zippers and sneaker-boot hybrids, adorned with worn-out laces and intense colors. This testament to Simone Cecchetto's ability to preserve creative integrity while forging his own path underscores his continued contribution to the creation of influential and unique designs.

/// Part two is coming in a couple of days!

Today's blog post marks a special moment for me. Not only because it's my first on Shifting Patterns, but also because I deeply admire and enjoy the work of this designer. So much so that my wife and I even got married in her garments. Today, I want to introduce you to Elena Dawson.

Elena Dawson, a London-born fashion designer for menswear and womenswear, keeps much of her personal life under wraps.There's no existing website anymore, and her former blog is no longer accessible. Only a Instagram account with a couple of posts and a contact email serves as a point of contact. It all somewhat reminds of the enigmatic Paul Harnden, doesn't it? But we'll get to that later. She studied Art and Fashion Design at the University of Brighton and worked as a seamstress after completing her degree. At that time, she said, "I draw on the knowledge I learned at the tailors still now in the way I make clothing."

In 2000, she co-founded the clothing line "Paul Harnden Clothiers" with her ex-partner Paul Harnden. She was an integral part of the design, concept, and business until 2009 with Paul Harnden, who was primarily known under the name "Paul Harnden Shoemakers" until then, when she decided to establish her own clothing and shoe label in East Sussex. Her studio is located there as well. Despite Dawson's departure, Paul Harnden's ready-to-wear collections continue to this day. Since 2009, the brand has naturally grown, but Dawson still produces her clothes and shoes herself, supported by a small team. Everything is produced in-house in multiple studio spaces, but all is handmade.

The aesthetic of Dawson's work at Paul Harnden and her own brand has definitely evolved over the years. Paul Harnden, who is now known not only for his shoes but also for his blazers/jackets, coats, trousers, and shirts, has a rather clean cut and neatly sewn edges. On the other hand, Elena Dawson has a rather rough look and is known for her unfinished seams with dangling fabric scraps. It's sometimes hard to describe, but she has a very romantic, poetic, Victorian look that partly reminds me of Tim Burton movies.

When I put on one of her beloved blazers, I often feel like a part of Bertolt Brecht's Threepenny Opera, almost like a wardrobe from the 19th century. I own 2 blazers (linen and wool), 1 linen shirt, 2 pants (linen and cotton), and silk accessories from Dawson. My wife has a mix of a coat and dress. All her clothes are labelled with the classic "Elena Dawson - Made In England" label and the washing/material information written in her really unreadable handwriting with a Sharpie.

The coats and blazers (mostly) feature beige/white cotton lining, and the classic look, often seen online, is achieved by rolling the sleeves backward, exposing the lining through the open seams. She works with a dress form, sculpturing everything, and only uses natural materials. Her favorites are English wool, Indian cotton, Irish linen, and Chinese silk. She describes her work as follows: "When you work on alterations you are really tearing the guts out of the garment, performing a sort of autopsy—you really get to see a garment at its most vulnerable point. Observing this state of semi-deconstruction in the making of a garment or shoe is what I like to retain in my finished work."

You'll rarely get the chance to buy her pieces online, as there are hardly any retailers offering her items online. She mentioned: "We don't do much press or social media work and we don't sell online at all. I'm not against that. It's just not the brand's main job." Elena Dawson limits the maximum order quantity and carefully chooses her retailers. She prefers to keep the brand small, and even on classic online platforms like Grailed, Vestiaire Collective, or eBay, you won't find many of her items used.

I highly recommend visiting a retailer near you for the experience alone and trying on the clothes in-store. In my case, it's Harvey's in Berlin. However, the most well-known point of sale is probably Dover Street Market in London, with whom she has a strong relationship, as Dover Street Market has actively supported her brand from the beginning, granting her a significant presence there. In Tokyo, I was also able to find her pieces at DSM and at the Comme des Garcons Pocket Store.

The result is garments full of personality that evolve over time alongside one's own personality, incomparable to any other looks consumed and worn nowadays. Each piece, crafted by her hands, is unique, and I'll tell you, the first time I wore an Elena Dawson blazer at Harvey's in Berlin, it resonated with me. The look, the weight, the fit… it felt like a second skin, and over the course of 2 years, seeing how it aged with me, it became more like an extension of myself each day.

Here's to Elena — may your artistic journey continue to inspire and captivate for years to come!

"Cogito, ergo sum. (I think, therefore I am.)" - Descartes

This blog is a sanctuary for my love of art, a haven for the artists I admire, and an arena where my thoughts, even in their recurring conflicts, can roam freely. It's not about self-promotion in any narcissitic way but providing space for each piece, song, or publication to speak for itself. Through interviews, introductions, reviews, and articles, I aim to give these creators a stage, making their work more accessible.

"Art is magic delivered from the lie of being truth." - Theodor W. Adorno

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