Adapt: make (something) suitable for a new use or purpose; modify
Transmute: change in form, nature or substance
Transfigure: transform into something more beautiful or elevated
In the history of art, there are countless examples of translating one medium into another. The informality of paper and pencil (not to mention an eraser) renders drawing well-suited to creating preparatory studies for other art forms like painting, sculpture, fashion or architecture. But there is no strict hierarchy or linear process to creativity and all materials can dance with each other: a tapestry based on a painting’s composition, a poem gives rise to a sculpture, a dress sparked by a designer noticing an alluring textile, for example. The possibilities are endless and ongoing, for if we open our eyes to all around us there is inspiration—invariably followed by interpretation—everywhere.
Berlin-based fashion brand Front Row Society’s philosophy, therefore, is part of an established tradition of artistic practice. Each accessory collection results from a collaboration with international artists, wherein an artist’s composition is transformed into a limited edition scarf or handbag, literally becoming wearable art. This spring, Rizik’s Accessories Department showcases four Front Row Society scarves. Fascinatingly, Front Row Society shares the artists’ own descriptions of their subjects on the garment tags, so we are able to learn about their interests’ firsthand. Those represented at Rizik’s—Printmuse, Sebastien Alibert, Sofia Brajal and Zoya Kraus—are all captivated by nature and their works approach this vast topic through unique windows.
The cycle of perception and innovation, then, continues. The scarves are a testament to imagination and what better thing is there to remind yourself of and wrap yourself in everyday? Find the one that speaks to you.
$195, 100% cashmere
The concept of ultimate harmony in macro and micro structures and how to articulate these in “wearable aesthetics” is a guiding interest for Spanish design agency Printmuse. They explain, “Our Crystallization artwork forms a part of our overall design concept. It is a study in how a collage of intricate, complex patterns can nevertheless form a clean and simple whole.” Crystallization both illustrates the process of solidifying particles and is itself an example of elements frozen in time, in the form of a textile.
Artwork: The Windmaker
Artist: Sebastien Alibert
$70, 100% viscose-modal
The French idiom “touch à tout” resonates with artist Sebastien Alibert. It translates as “to touch everything,” to be a person of many interests, skills and experiences. A self-described graphic designer, painter and sculptor, Alibert enjoys the crossover between different media. The Windmaker, he says, “explores the theme of bleached memories, with a particular emphasis on variations on nature, the season cycle, the wind and the mayfly.” A mayfly lives only a few days and the wind is always shifting, one season morphs into the next and memories fade. Alibert’s composition uses a delicate staccato of marks to express movement and the momentum of change.
Artist: Sofia Brajal
$125, 15% silk, 85% modal
Portuguese artist Sofia Brajal shares, “When it comes to creativity, I find that disobedience is something of a necessary virtue…. I try to explore and mix different techniques all the time, which is an excellent method for finding many different sources of inspiration.” Honey explores the beauty of this natural, increasingly rare substance. She concentrates on honey’s warm, majestic glow and liquid sheen, as well as its underlying geometry, to create an opulent, elegant design. Furthermore, we can infer that with bees disappearing, the day will come when natural honey is gone and the ways it has been documented, such as Brajal’s adaptation, are what remain.
Artwork: Tribal Bones
Artist: Zoya Kraus
$70, 100% viscose-modal
The landscape of her home—Australia’s Blue Mountains region—inspires artist Zoya Kraus. Calling herself “a passionate, flamboyant surface artist,” she primarily produces textile designs that couple her fascination with color and contemporary Australian subjects. In Tribal Bones she reflects on indigenous cultures. While cognizant of the myriad differences in artistic expressions between communities and individuals within each group, Kraus ultimately chose to emphasize unity by highlighting what we all share—a body. She describes, “For my design I thought it would be interesting to explore the core of humanity in the form of the human body, the internal structure of which is the same within all of us.”