THE SQUARE

LOOK 1

SHAPE

Shape forms the foundation of the collection. Developed from square-based construction principles and informed by historical Danish pattern-cutting traditions, the garments explore how a simple geometric form can generate a wide range of silhouettes. Through folding, gathering and redistribution of fabric, the square is transformed from a flat shape into complex three-dimensional forms. While the collection remains rooted in geometric logic, the resulting silhouettes move beyond the rigidity often associated with the square, reflecting the project's broader interest in challenging established conventions and creating space for alternative expressions of masculinity.

LOOK 2

MATERIALS & TEXTURE

Texture is used to communicate process, memory and transition. Through needle punching and textile manipulation, surfaces are gradually built up and altered, allowing traces of labour and making to remain visible within the finished garments. Rather than functioning as decoration, these interventions act as a means of storytelling, embedding personal and cultural references into the material itself.

Several of the collection's textured surfaces draw on memories of the municipality sweaters associated with my parents' later working life. Through layering, fibre manipulation and surface intervention, these references are translated into tactile expression and material transitions. In contrast, the leather jackets referenced throughout the collection evoke an earlier stage of life, carrying associations of freedom, individuality and self-definition. Together, these material references establish a dialogue between life before and after the square.

Craft functions as the connecting thread between these moments. Rather than reproducing specific garments, the collection uses making as a way of interpreting the experiences, values and transitions they represent. Texture becomes a site where personal memory intersects with broader cultural narratives, allowing inherited knowledge and lived experience to be carried forward in new forms.

Linen, cotton, wool and leather were selected for both their functional and material qualities. Their durability, breathability and longevity support everyday use, while their structural properties allow them to respond effectively to manipulation, embellishment and surface development.

LOOK 3

COLOUR

Colour serves as both a compositional and conceptual tool within the collection. The palette was developed through a series of structured experiments using acrylic paint on textiles. Particular attention was given to complementary colour relationships and the visual tensions they produce. Saturated yellows, reds and blues are balanced against softer and more muted tones, creating moments of contrast, harmony and disruption throughout the collection.

As with the prints and constructions, colour becomes a way of negotiating opposites, bringing together control and intuition, historical reference and contemporary expression. The palette reflects the project's broader exploration of duality, allowing visual tension and balance to emerge through the interaction of contrasting hues and tonal shifts.

LOOK 4

PRINT

Print functions as a counterpoint to the structural qualities of the collection. Developed using ink and cheesecloth, the prints introduce an analogue and tactile quality that contrasts with the precision of the constructions. The process produces irregular marks, imperfections and layered surfaces that resist complete control. This tension between structure and spontaneity reflects one of the project's central themes: the duality between life before and after the square, between inherited systems and personal expression.

LOOK 5

LOOK 6