Design and self representation. The abstraction of the idea and the physicality of getting dressed. Purity of lines that allows women to choose how to represent themselves, and tell who they are however they feel inclined, oblivious of conventions, schemes, rules, following only their own point of view.

Details that are painstakingly controlled in order to entice uncontrolled ways to dialogue with the garments, sculpt them, own them. Construction as an invite to deconstruction. The stricter the aesthetic code, the wider the possibilities. Interpretative ethos, that is.

It is the ethos Guinevere Van Seenus explores in the accompanying visual portfolio, getting physical with the pieces as she photographs herself, or as she captures on camera choreographer and performer Imre van Opstal as she owns the clothes getting physical with them.

Decisive shoulderlines define coats and tailored jackets that fall straight or mark the waist. The idea of wrapping entices action and protection. Jackets and coats with stand-up collars have a self-affirming, sharp precision. Hemlines go askew. Zippers run as a mark. Dresses bend, drape, fold. The shirt as a daywear statement. All of a sudden, curvaceous femininity, or the romance of a nightgown.

A concentrated palette of black, earthy notes of underwood, fudge brown, dark khaki, loden, neutral touches of off white and buttermilk, concrete inserts of fog and melange grey, bright accents of sky and workwear blue.

Textures are dense, offsetting the thick and mannish with the feminine and airy, the dry with the tactile: slick melton, double face textured wool cash, structured grandpa tweed, Scottish tweed, bleached black denim, ultra mat wool gabardine, malfilè wool, crispy tailoring wool, brushed wool silk, fuzzy silk, crinkle technical silk, washed georgette, striped shirting, hairy viscose.

High heeled pointy boots and flat loafers complete the looks.

Crudeness and matter. Complexity and effortlessness.