As clothing appeaerd in the purpose of protecting the body and covering in different conditions like mourning and burial rituels, it later continued to develop by means of statute in communities, being supported by accesories in time; it became a symbol of aesthetics and acception in society.
While creating my dresses, I get inspired by Anatolian culture which has a variety of exciting aspects.Traditions carry me through interactions with my unique style. I synthesize the stories of my culture with my perspective of clothing.
I combine ceramic units in different shapes and form them to appear hollow, ethereal when they are hung from the ceiling. And their moving shadows also become a part of the work spiritually.
My dresses are interpretations of Ottoman and Anatolian traditions. Kaftan, armour, healing robes…. I call this talismanic; because citizens of Anatolia used talisman objects to keep them alive and health, believing in thier mystic and magical powers.
Ottoman Sultans believed in their power to be bullet proof, defender from devil, invisible or healing; because they carry inscriptions from holly Kuran. Such traditions are subject to various cultures in other parts of the world, like india japan iran…
then I believe my works bring together different centuries and geographies together symbolically through vivid ceramics.
I knit my ceramic units with silver wires; ı use colored clay which are fired to 1200-1280.
My dresses are unwearable, uncomfortable….but they carry the spirit of tales that I create.
I experiment with material and basis of dress production and wearers attitudes like Paco Rabanne searched for around 1960’s. I question the material, concept of clothing culture and fashion.
“Who knows what the clothes will be? Maybe women will be dressed in colored gasses adherest to thier body or in halos of light changing color with the movements of the sun or with thier emotions. ” Paco Rabanne. Fear and Fashion; Jane Pavitt