ERKI

Moeshow

2018

Aastakümnete jooksul kujunenud ERKI pidude traditsioon on otseses seoses ERKI Moeshow tekkega. Toona proovisid tudengid luua omamoodi reaalsuse, kus valitsevateks märksõnadeks olid loovus, mäng, lõbu ja julgus. Eeskätt proovisid mässumeelsed tudengid põgeneda nõukogude tegelikkuse ja ülepolitiseerituse eest, lülitudes end selle asemel “meeletuste maailma” lainele. Kuigi pidude kontekstis võidi ajutiselt repressioonid unustada, olid tudengid teadlikud, et neid jälgitakse.

 

Ka tänavusel moeshowl pööratakse tähelepanu jälgimisele, just isiku turvalisuse ja privaatsuse võtmes. Meie sammud on salvestatud lugematutele videolintidele ning üha enam trügib sotsiaalmeedia meie igapäevaellu. Pole kahtlust, et meie isiklikke andmeid töödeldakse ja kasutatakse meie endi teadmata. Kas pidev jälgimine aitab tagada turvalisust või viib see meid orwellilikku jälgimisühiskonda?

 

Olete oodatud 26.mail peituma tavapärase maailma eest ning kogema kultuurilist valgustatust kunstitudengite loomingu läbi. Olge valmis seisma silmitsi disainerite, modellide ja mis kõige tähtsam – iseendaga.  

Piletid

Soeta endale ERKI Moeshow 2018 pilet.

Edasipääsejad

WICKED RAIDER
Kirke Talu [EST]
VELTA
Katrin Aasmaa [EST]
TERRITORY
Dita Enikova [LAT]
STARGAZER
Getter Tiivits [EST]
RESTITUTIO
Andreas Kübar [EST]
REPETITIF
Marleen Afanasjev [EST]
PISAR
Kätlin Haak [EST]
OPACITY
Liina Leo [EST]
NARCISSUS – NOT ONLY A FLOWER
Rimantė Rimgailaitė [LTU]
LIVING WATER
Reila Saarmäe [EST]
KÕIK ON TROIS
Cärol Ott [EST]
KIDS IN THE BLOCK
Sirli Lehtsalu [EST]
KHRUSHCHYOVKA
Karola Kaugema [EST]
JARMO
Laima Jurča [LAT]
IT’S A TRAP
Annika Kiidron [EST]
HIDDEN TRADITION
Barbara Vasileva [RUS]
HAND-IN-LOVE
Külli-Triin Laanet, Nele Kurvits [EST]
HAND ME A HANKY
Kerttu Reinmaa [EST]
FACE VALUE
Triin Tint [EST]
CREATIVITY AS A MANIFESTATION OF FREEDOM
Laima Jurča [LAT]
ATMOSPHERE
Päivi Leino [FIN]
WICKED RAIDER
Kirke Talu [EST]
VELTA
Katrin Aasmaa [EST]
TERRITORY
Dita Enikova [LAT]
STARGAZER
Getter Tiivits [EST]
RESTITUTIO
Andreas Kübar [EST]
REPETITIF
Marleen Afanasjev [EST]
PISAR
Kätlin Haak [EST]
OPACITY
Liina Leo [EST]
NARCISSUS – NOT ONLY A FLOWER
Rimantė Rimgailaitė [LTU]
LIVING WATER
Reila Saarmäe [EST]
KÕIK ON TROIS
Cärol Ott [EST]
KIDS IN THE BLOCK
Sirli Lehtsalu [EST]
KHRUSHCHYOVKA
Karola Kaugema [EST]
JARMO
Laima Jurča [LAT]
IT’S A TRAP
Annika Kiidron [EST]
HIDDEN TRADITION
Barbara Vasileva [RUS]
HAND-IN-LOVE
Külli-Triin Laanet, Nele Kurvits [EST]
HAND ME A HANKY
Kerttu Reinmaa [EST]
FACE VALUE
Triin Tint [EST]
CREATIVITY AS A MANIFESTATION OF FREEDOM
Laima Jurča [LAT]
ATMOSPHERE
Päivi Leino [FIN]

Tiim

Peakorraldus
Lava
Press
Sponsor
Tagalava
Üldkorraldus
Graafiline disain
Juhendajad
WICKED RAIDER
Kirke Talu

The collection WICKED RAIDER is a symbiosis between accessories and clothes – functional clothing that is designed while experimenting criminal thinking.

The strategy is to familiarise design process with criminal thinking, which does not necessarily deliver “problem solving”, rather directs social change.

The idea is to analyze a thiefʼs mindset, collect data and results. The purpose is to understand how they look at objects and find finer thief-proof design methods. The collection puts an ordinary person into a thiefʼs consciousness and makes them act instinctively as sly and slick as a criminal mind would do.

WICKED RAIDER ventures with patterns – arranging accessories into clothing and clothing into accessories, making them look versatile, functional, too complicated and odd to steal. Every piece is somehow attached to the body and has hidden capacities. All silhouettes are transformable and ethereal.

How to make clothes “thief-proof”? Usage of hidden and adjustable capacities that canʼt be approached easily, secret pockets and zippers featuring deep and smart accessibility, multiple closing systems, velcro (makes noise, while opening), systems hidden under clothing and mocking covers.

1
2
3
4
VELTA
Katrin Aasmaa

…is a summary of stories that took place in the 90’s Eastern – Europe set in a usual panel house of Mustamäe. Main inspirations stems from my aunt Velta’s home and my childhood. Velta’s compositions are well thought through and have many details. They are customary to slavic aesthetics and walking a thin line of (un)tastefulness.

I can remember cheap crystal bowls filled with candy, dishes and glasses embellished with gold stripes, the plaid and floral oilcloth on the kitchen table, the perfectly positioned dolls wearing socks and ribbons and my grandmother falling asleep with her rollers on.

I remember how overheated the home phone was after 2-hour-long discussions about our relatives.

I remember when aunt Velta pushed the kitchen table next to the wall, gave me golden shoes and taught me to dance valse.

And I still know exactly how fetching and vain I am.

All of this is interpreted through modern techniques – some of the oil cloth prints are executed in digital printing on fabric.

The crystal bowls are mocked by silicone molds that embellish the clothing.

Gold stripes on tableware are translated into bindings and facings on pockets and other details.

The trays from the table are dressing the head and formed into headpices.

A breath of fresh air is blown to oil cloth with embroidery and decorative ribbons.

“Velta” curates a series of simple every day life situations, shares their time-honoring values and humorous happenings.

These simple tales bring uo nostalgic feelings of recognition.

1
2
3
4
TERRITORY
Dita Enikova

My inspiration for collection is mostly based on my experience by living in Copenhagen, Denmark. Collection “Territory” is about searching for the Nordic identity in Scandinavian contemporary art and traditional fishery clothing. These various experiences, which a person accumulates by finding oneself in a specific region of the world, or in a particular territory, make to adapt unconsciously. Traditional fishery clothing and contemporary art element conjunction, through structural surface examination discover unlimited space from where to derive inspiration for image and creation of senses for the collection. These two opposed shapes allow to have an insight into two areas – historical and modern.

1
2
3
4
STARGAZER
Getter Tiivits

Drawing has always been a passion of mine. To catch an atmosphere & to transform it into lines, forms, colours & garments is what I love about fashion. The diversity of techniques & patterns or craftmanship really makes me joyful. I never have only one inspiration that I based a collection or garment on. The influences keep coming in & there’s always something that inspires me. My inspiration can also come from an image or melody that I cannot get out of my head.

This collection is mostly inspired my long-time favorite Triana Park song „Iron Blue“  & those deep & melancholic sounds gave me chills & feelings that I wanted to put into this. That song made me think that probably most of us know how extremely romantic some love-related relationships can be, but it also made me think that everyone turn crazy for love at least once in their lives. Love is beautiful, but on the other hand, it’s melancholic & overwhelming. So this collection is dedicated to all of these stargazer out there who are still in love. Stargazer – one who gazes at the stars!

I love mixing different textures & materials, so I tried to do that in this collection, too. Main color of the garments is black, but with splashes of pinks, red & pastel blue. I also made some love-space-dreaming themed embroidery on them.

1
2
3
4
RESTITUTIO
Andreas Kübar

The collection represents fictional souls who are the backspine of our society. Lead creatures for a vision of endless hard work. As they have carried our weight and secretly done our job, it all has brought up some consequences. They have ripped their backs, stretched their arms and bruised their faces. Now it’s time for a brief pause. These strongmen should take a break, and I think, the smallest thing we can do, is to take some of their weight on to our shoulders. Those immortal souls should go on a rehab, they still have a long way to go.

Collection RESTITUTIO (work related rehab) brings on stage all over-worked men who are now trying to recover themselves.

 

1
2
3
4
REPETITIF
Marleen Afanasjev

We invented a mountain of superfluous needs. You have to keep buying, throwing away. Why do we have so many clothes which almost always end up in landfill. Is this really our only option, or it’s time to think about how to handle all that is left behind?

Completely. And again.

My fashion recycling story started already at a very young age, when my grandfather brought used clothes from the big city Tartu and started selling them in the countryside. It was opportunity to remade it all. I believe it was the right start and this collection is a continuation for that idea. I’m using mostly damaged textiles, end-of-rolls, second hand textiles and second hand clothing in my entire collection to make my own pattern.

 

1
2
3
4
PISAR
Kätlin Haak

The fashion collection “Pisar” is inspired by the feelings of men and the hidden beauty behind them. The theme is transferred to women’s collection, that is fragile with classic plays on detail. “Pisar” expresses hidden beauty, pain, harmony and complete chaos.

The models will be wearing transparent glass masks with male facial features and latex wigs. The inspiration to make a women’s collection based on men’s feelings came from conducting interviews with men about what makes them cry and what is crying for them in general. The result turned out to be exchangeable with women’s understanding of the subject, thus revealing that on deeper level we are not so different after all.

1
2
3
4
OPACITY
Liina Leo

Transparent, translucent, visible, clear, murky,

obscure, pellucid, dark, light, bright, hazy,

blurry, cloudy.

Ice is arguably the only material that can take on any of the above descriptions when sourced naturally. With a foremost focus on materiality and textile techniques, the exhibited pieces take cues from ice in its many states and formations. Therefore, this collection makes

use of clean lines, cut-out shapes, and the interplay of different material layers. As ice melts, colors fade, as ice cracks, dyes crackle, and material relations illustrate the transparency or obscurity that give ice its specificity.

1
2
3
4
NARCISSUS – NOT ONLY A FLOWER
Rimantė Rimgailaitė

The Internet is not only a virtual space, it also became an integral part of our lives where most of us spend a lot of time browsing. The development of high technologies encouraged people to become extremely social beings, internet effect became similar to a never turned off webcam – standing all night long with complete openness, in every moment of life promotion has become completely normal phenomenon. According to the US sociologists, anthropologists and psychologists study findings, the self-demonstration form equate to narcissism and argue that this will become one of the largest twenty-first century society public problems.

Online narcissists tirelessly seek for satisfaction, calmness and benefits, raising the cult of beauty and perfection facing toward you, and is looking for ‘paper glory’. The more followers, ‘like’ clicks – the more recognition. It created a new status.

These days, online narcissistic reminds me of the Greek myth of Narcissus, the young hunter who according to the legend fell in love with his own image in the water. As of today’s young man Narcissus, how he plays the role?

I created the experimental collection of clothes using sculptural design – layout method, inspired by modern Narcissus (lovers of themselves) image. The idea of ​​broadcasting object I chose as a symbol of the collection – daffodil flower form. From the unique daffodil structure and design I created and integrated it into the classic clothing. This allowed me to create a line of clothing sets from classical to an art object of ‘Narcissus’.

 

1
2
3
4
LIVING WATER
Reila Saarmäe

The collection is inspired by water and its nature. I truly believe that water can store information. Making experiments with spring water by freezing it was a big part of my research process. Before the freeze, I played music to water or wrote down a message on the box where the water was stored.

The outcome was mesmerizingly beautiful – the ice formed unique crack-like stripes or bubbles inside it depending on the music or messages that it had been encountered with. The stripes, being particularly captivating, form the base of the current collection. For imitating the fragile and often playful lines, I developed multiple surfaces incorporating crepe paper in different shades. Shapes are feminine and elegant like the purest and richest water, with the sleeves often reminding frozen drops that show off the patterened world inside it.

1
2
3
4
KÕIK ON TROIS
Cärol Ott

Imagine being on a small island with 60 people living on it. You don’t have supermarkets, cinemas or anything like that. You have something else – the sea. Sea gives to you and sea gets from you. You never know what you are going to get next.

Collecting an orange lifewest or a random log by the sea.

You have to take it all becaue you never know where you can use your find. The lack of supllies makes you think more how to create solutions. In the world of mass consuming and producing we should start to think about more how to use the materials we already have. That’s why my material techniques are made of things that would be thrown away in normal cases.

But considering the lack on needs of small villages, life is still fine, you take what you have.

1
2
3
4
KIDS IN THE BLOCK
Sirli Lehtsalu

Grown-ups have drawn so many rules into their lives. They dress as it’s told, they do what has been told. But there still is the inner child in everyone of us – you are the princess of your world.

The collection is based on two opposites – serious and playful, contrasts in life. There are hints of clothing worn upside down or just uncommon ways. Thefabris is a canvas for incredible stories drawn bt children.

1
2
3
4
KHRUSHCHYOVKA
Karola Kaugema

‘60s was a time of massive urbanization, millions of people left their rural houses and moved into newly-built city apartments in low-cost, concrete-paneled buildings. These buildings came to be known by the name of khrushchyovka – because they were built during the time Nikita Khrushchev directed the Soviet government. The flats were small and had a lot of problems, but for many people it became their first own ​home.

Thin concrete walls were very cold in winter, so people began using wool carpets as a heat insulation, especially in the northern regions and the Far East. Khrushchyovka ́s walls were not only cold, but also thin. Soft and thick carpets were excellent to lower the noise that could come from other flats.

I think almost every estonian remembers Russian carpets from the times they where younger. A lot of Soviet people, had at least two carpets at home – one the floor and one on the wall in the living room. If they could afford that of course, since carpets were expensive. Carpets served multiple purpose – they provided warm, soundproofness and were a symbol of wealth.

My idea is to give a new life to the Russian carpets what have been forgotten and gone out of style. I am going to use something what we are used to seen every day, remember from our grandparents homes and apartments in Lasnamägi and Mustamägi, and give it a new twist. With my design I want to give on all 3 purposes what Russian carpets served before-provide warm, isolation from noise and show wealth what it used to symbolise.

The carpet what I used for the sample product is from my Soviet apartment floor, it was the inspiration for this collection and has been in my family for generations.

1
2
3
4
JARMO
Laima Jurča

The being discovers its ability to materialise thoughts by manipulating with gravity. The being’s outline changes and its appearance becomes momentarily secondary and seemingly invisible as it is also subject of gravity.

However, it allows to feel more, too – the emotions, which are overflowing, are also materialising. Jarmo discovers his identity.

The result of thought materialisation is clearly visible, manifesting in everything from the most magnificent flowers to rusty junk – everything that has been stored in his thoughts comes to life.

1
2
3
4
IT’S A TRAP
Annika Kiidron

Our everyday life is moving into a virtual world, a new reality created by man. A world where anything is possible – reimagine the laws of physics, simulate the real world or begin anew, one can make its own rules or have none at all. A thrilling man-made window into a reality with endless new discoveries, where the mind is not bound by a body, where it can choose a new form, or live completely without one. Mind and body – can they exist on their own?

The late Stephen Hawking was a great example, showing inequality between ones mind and body and the irreplaceable contribution made by technology into his legacy and daily life. An augmented reality has become common for many. A growing number of people inhabit two worlds at the same time – ones mind is in a rapidly expanding virtual world and the body is left behind in our world with it’s everyday needs. When the body fails, will the mind live on? Humanity is working on it and it is believed to become a reality in the next 50 years. What will become of our corporal form? Do we even need this shell, that can barely operate for a 100 years and uses massive amounts of resources and care to do so. Has the body become an obstacle for the mind in this information society, where it can’t simply use a diagnostic tool and scan for errors. It happens quite often an ilness or fault in our body is found, when it has already damaged other systems or caused irreversible harm. There is no market for spare parts and there is no way to restart. Can todays impatient user in this techologyridden world cope with a machine that cannot be upgraded or updated?

Although the development of technology and software have made a huge contribution in the process of medical science, given us longevity and improved its quality, has our body still become obsolete? Is it possible, that our consciousness would evolve much faster when there would be no physical restrictions? Has our fragile body, made of bone and muscle, become a burden to our mind? Why do humans only use a small percentage of our brains, or why can an A.I. learn faster and more systematically? Intelligence amplification is a rapidly growing field, but will our consciousness ever be advanced enough to leave behind it’s corporal form – or is it a trap?

1
2
3
4
HIDDEN TRADITION
Barbara Vasileva

The main theme of the collection “Hidden Tradition” – transformation of the national costume for the modern life.

Inspiration – “Dymkovo toy”, the color and clay plasticity, history and traditions. Dymkovo style combines simplicity and kindness traditions. Traditions are always camouflaged by the history.

But for each nation they are the basis.

The simple shapes such as oval, square and cone are used in the collection.

A lot of frills, folds and draperies as irony.

All prints are designes by the author and are unique.

Main fabric collection – costume fabric, leather, silk.

1
2
3
4
HAND-IN-LOVE
Külli-Triin Laanet, Nele Kurvits

We’re telling a story of making peace with yourself, of love for oneself and one’s flaws. Of how you can hate yourself, and change yourself, sometimes brutally – but how beautiful the force of human desire can be, in itself. And what a force to be reckoned with, to be admired, and rejoiced in.

We’re speaking of happiness in the truest form of love and comfort – the comfort in being yourself, with knowing and accepting even the most vulgar parts of you, of loving yourself, deeply, maddeningly, euphorically.

But we cannot talk of the happiness before we have talked of the past, seen the driving force

behind someone’s changes. whether it was love or hate, the prodigal son might one day return to the family, torn apart and reassembled in a way both angelic and horrific – depending on through whose eyes you’re looking at him.

Who’s to say whether the way a person’s been assembled is the right or wrong way? Who’s to say someone at their rawest form isn’t at their most beautiful form? and who’s to say you shouldn’t grow in the way most well-suited for you, like a river, moving always, growing, naturally, in its rightful path..

 

1
2
3
4
HAND ME A HANKY
Kerttu Reinmaa

The collection “Hand Me a Hanky” is in a way a ‘hommage’ to the 20th century beginning,

when women due to the time period started to find sensuality and beauty in simplicity and

comfort. The collection tells a story about the transitional period, when the corsets were slowly set aside and the new modern bra made out of two handkerchiefs by Mary Phelps Jacob, took the world by storm.

The collection encourages to be one with yourself and to be open to the changes we encounter in our way.

The imitated lace, that the author created with the water-soluble stabiliser, symbolises the second skin that peels itself off, being full of burden and restriction.

 

1
2
3
4
FACE VALUE
Triin Tint

It is a known fact that fashion values surface and sales over depth and it has led to a point where more and more the words ‘don’t care’ are used when talking about clothes. Furthermore, growing speed of the fashion cycle and constant sales fuel overconsumption and therefore clothes are taken for granted and the only value they have, is monetary ‘face’ value. It seems as they have become random packages, where the facade is the only thing that matters and their life expectancy is close to non-existent.

The main inspiration for the collection ‘Face value’ is luxury brand paper bags, which are kept for their own sake and taken care of after the purchase. In addition to the bag itself, the forms are inspired by wrappings of silk tissue paper, small dust bags and grosgrain ribbons, which are typical elements of luxury packing.

Moreover, they are mixed and juxtaposed with details typical to fashion industry and merchandising, like price tags, security elements and plastic needles, which are often forgotten on clothes as well.

However, the old craft and haute couture, which tends to be the beautiful facade of the industry, is in terms of the process, extremely time consuming. Therefore all the oversized overlocks are hand made as well as all the embroideries on brand bag replicas (instead of silk screen printing or machine embroidery).

The collection creates an honest and ironic reflection of the fashion industry today.

 

1
2
3
4
CREATIVITY AS A MANIFESTATION OF FREEDOM
Laima Jurča

The collection is about going back to a time of soviet union through the memories of people who lived at this time. There were no much opportunities to choose fashionable outfits or to get cool stuff, but this made people forced to be creative and do brave things.

The main inspiration for my collection is coming from my dad’s brevity in his high school time at the soviet union. The story of a school in the countryside and a neighboring parish school.

The 70’s fabric – Velvet, which unfortunately was not very common in local stores, however both of the Secondary School acted in direct contact with this material and, fortunately, each school had its own color, which encouraged young people to behave very smartly and creatively. get the desired piece of clothing. The pupils of these two schools decided to co-operate by stealing each school’s curtains, then exchanging them, so that the color would be different and sew of them stylish trousers.

During the research, I interviewed people of that time generation and collected various stories about how they at that time were dealing with fashion and other issues and what methods were used for it.

The inspiration for collection patterns is coming from Soviet time most popular tablecloth – Wax Cloth, which depicts a wide range of objects and things that, in generations of that time, are capable of provoking nostalgia and remembering of the courage of youthful days.

 

1
2
3
4
ATMOSPHERE
Päivi Leino

A collection of opposites. The majestic grandeur of Brutalist concrete architecture emerges as soft draping on my BA collection “Atmosphere”. Sharp geometrical shapes cut from soft wool and silk create flowing drapes and folds. When combined with some elements from the 80’s alternative styles of post punk and goth, the collection aims more at covering than revealing. Distorting the body shape by large knots and protrusions of triangular shapes, question the importance of the body underneath. Protesting on the culture of revealing fashion, sometimes showing less skin is even more exciting than bareness.

Innovative, experimental pattern cutting is used to combine garments and geometrical shapes, mainly triangles. Some pieces are cut straight from flat shapes. A garment is then constructed by four of these same shapes sewn from the sides. Nevertheless garments sculpt themselves on the wearer. Diagonal cutting lets the fabric form flowing drapes around the wearer. Stiff self-padded materials are used to create volume on some pieces. Three-dimensional surfaces are formed by sculpting thin pieces of foam into the fabric, which create voluminous draping on bamboo jersey.

Drapes, knotted triangles and protruding surfaces are presented in the calming colour palette of grey, black and silver. All grey materials are dyed by myself and the quilted cloth has been made by hand.

 

1
2
3
4