Dioramas of Everyday Life

The collaboration developed through a dialogue around the notion of the “real” in fashion. Central to this exchange was the intention to situate garments on bodies that feel present rather than idealised, to position clothing not as a detached image, but as something embedded in lived environments.
A runway show is inherently constructed: a temporary architecture for looking, defined by choreography, lighting, and controlled viewpoints. The intervention does not conceal this artifice. Instead, it acknowledges it, treating the set as a device through which fashion can be understood as moving between lived experience and representation.

The spatial concept is structured around a series of mirrored surfaces, partially hand-painted with fragments drawn from quotidian life: a car rear light, an office chair, leftovers on a table, a CCTV camera, a computer window. These elements are deliberately unremarkable. They point to peripheral details that accumulate in daily environments without demanding attention.

By combining reflection and painting, the mirrors operate simultaneously as images and as spatial instruments. They register the presence of models and audience while superimposing ordinary scenes onto the unfolding event. The garments appear frontally, laterally, and in reflection closer to how clothing is encountered outside the runway, in passing or in peripheral view. The set does not function as a neutral backdrop, but as an active surface that brings the present moment into contact with familiar surroundings.

Architecturally, the structure suggests a domestic interior, wooden frames and recognisable proportions, yet remains intentionally fragmented. It evokes a room that has been dismantled and reassembled out of sequence. In place of a conventional carpet, the floor is conceived as a monumental doormat. By enlarging a humble, transitional object, the project foregrounds the idea of threshold: between exterior and interior, between daily life and staged presentation.
The decision to render the imagery by hand introduces a temporal dimension. In contrast to the rapid production and circulation of digital images, painting implies duration and sustained attention. The banal is not elevated into spectacle; rather, it is approached with care.

Designing for a runway involves negotiating intensity and brevity. While the physical event unfolds within minutes, its images persist through circulation. The intervention supports the garments without competing with them, remaining legible both in the room and through the camera lens.
Instead of dissolving the constructed nature of the runway, the project situates fashion within a space that remains in dialogue with the ordinary, acknowledging clothing as part of the environments through which bodies move, rather than as image alone.