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Ingrid Kraftchenko is the Activist Designer of London Fashion Week
Eco-futurist designer Ingrid Kraftchenko has redefined luxury at London fashion week. The refreshing artist has sought to reshape our understanding of fashion and creativity in the modern world. Embodying globalisation, dystopia and utilitarianism, her latest collection ‘Bodymap’ seeks to inspire a new punk subculture.
‘The Sun is Ash’ was the other moniker for this runway, a heavy and environmentally charged epithet. It was reminiscent of British subcultures that emerged in the ’60s post-war, many of which were characterised by their socio-political beliefs, much like Kraftchenko’s. The collection and textile combinations were a reminder of early Vivienne Westwood, punk’s dearest designer who emerged in a time of social upheaval. Similarly, the British Ukrainian artist could be trajecting the recent political plight of her country through the raw, broken and dismantled imagery in the showcase. Kraftchenko capitalised on the colours black and red, traditionally adopted by those who challenged austerity and the oppression of individuality.
Kraftchenko and Her Symbolic Rage
WARNING: THIS COLLECTION SHOULD BE VIEWED AS A COHESIVE WHOLE
Outfits varied from full body shields to fragments of fabric that decorated skin rather than covered it. Within the collection lay anger, rebellion, passion, plus anything and everything that began with the prefix ‘anti’. The show took place in a forsaken tunnel, which appeared to exemplify an abandonment of humanity as it transported us into the universal subconscious. Excitingly, hardcore techno music exacerbated the atmosphere and directed the models on how to trample the stage.
The dystopian element permeated through the designs, with militarian silhouettes incorporated through rigid shoulders, industrial boots and regimented stomping. Deliberately semi-tailored looks were both heavily antithetical and consistent with the green-tinged concrete and brutalist tiles. It seemed a fitting exposé on the exploitive, self-indulgent and grimy reality of fashion in the 21st century.
Anarchy and Anarchists
Meanwhile, red and black formed a coalition as agents of deliverance. From Kraftchenko’s perspective, they symbolised revolt, detachment, contamination and doom. This was explored through the make-up and hairstyles of each model. Scottish make-up artist, Claire Urquhart, used graphic liner around their eyes to simulate cuts or scratches at first glance. Other elements that contributed to the looks were the contrasting shades of hair, blunt cuts, mod cuts and dip-dyed red tips (including fingertips).
Once viewed in accompaniment with the garments, each model became a narrative representative of a bigger story.
This collection was an intertextual reference to an earlier show that divulged the nebula of the female experience – ‘Reject’. Stemming from a biblical reference to Mary Magdalene, the concept of women’s agency was dissected, studied, and presented on display in its candour, literally. The SS19 performance art simulated the spectacle and commodification of womanhood, and now we have been given a collection where true strength lies in androgyny and reclaiming autonomy through social rebellion.
Kraftchenko subverts traditional expressions of power through aberrant ensembles. Some looks did this by romping around with sexuality, while others embraced androgyny and experimented with eccentricity. From exposed midriffs to shredded skirts, kilts and bustiers. Musician Alice Go sported a laser-cut corset which mimicked scales and spikes clinging tightly to her chest. The punk rock artist then resurfaced with a bondage-inspired accessory. A wide leather collar swallowed her throat, connected to a harness that caged the rest of her torso. Although, it also reminded me of a straight jacket [an unlikely coincidence]. Underneath, Alice wore a scarlet red bustier completed with a flimsy skirt that seemed to have gone through an office shredder.
It appears Kraftchenko loves to incorporate human skin as fabric by playing with different levels of nudity.
Challenging Constructs and Tradition
I must commend the spirit of the collection. Recently, I have found myself sick and tired of seeing suits on the runway: traditional, whacky, boxy, oversized, cropped, cinched, padded…
All these different renditions are uniforms for the empowered woman, the modern woman or the girlboss. This pseudo-feminist idea has become rampant in the industry where empowering feminity or women means we have to force them into male spaces, or in fashion’s case, male silhouettes. I shouldn’t need to explain why this is actually a regressive step in feminism.
Kraftchenko seems to recognise this fraudulence too. The designer has dismantled the gendered attire and stripped it of its power by deconstructing all of its fundamentals. The suit is a symbol of men, of course, but equally, it is an emblem of capitalism and class. Looking carefully, deconstructed elements of the suit becomes paired with a bawdy red miniskirt or asymmetrical see-through pants. It is a little comical. This creates a little more intimacy as a consumer of the brand as if we’re all in on an inside joke with Kraftenchenko herself.
Unfortunately, aside from the message behind the collection, I found the designs slightly retired and outdated. It was an entertaining show nonetheless, and as always, it is reassuring to see designers depict social issues and remain in touch with reality.
For more alternative runway reviews, why not read the SSEDITORIAL review following the Rodarte Autumn-Winter 2023 Collection?
