In a presentation that blurred the lines between runway and performance art, RVDK designer Ronald van der Kemp staged an intimate show at Studio Astre, a venue known for fashion photography. The designer himself assumed that role, snapping models as they moved one-by-one through the space as if at a photoshoot, pausing to chat with them or give details about the dress.
One model played the oboe, as if demonstrating her talent for an audition, while others posed with theatrical flourish. It all amped up the sense of performance while highlighting the clothes’ movement and texture.
The shoestring setup created an additional dimension of creativity, and a personal, atelier-like atmosphere often lost in large-scale productions.
The collection, rooted in sustainability and resourcefulness, was made mostly from pre-existing materials. Surplus couture fabrics, shearling remnants, and discarded alligator skins from a “mega-luxury handbag” brand were reimagined into structured skirts, jackets, minidresses and corseted gowns.
Van der Kemp also presented his first costume jewelry in earrings and accessories crafted from 3D-printed recycled plastics, hand-painted, lacquered and embellished with overstock beads and crystals. And the leftovers from the printing process? Repurposed again into belts or other decorative ornaments added to looks.
The designer leaves no source unturned.
Each truly one-of-a-kind, the designs varied widely in silhouette and construction. Slim, two-piece sets sat alongside balloon skirts with New Look proportions. Peplums were built from old zippers; sheer overlays and hand-beading techniques coupled with the 3D-printed pieces rendered light gowns deceptively heavy and demonstrated meticulous craftsmanship. With few pieces of black or white, mostly everything was an eclectic burst of colors.
The show, titled “We Are the World,” highlighted a moment of serendipity as a world map dress happened to have Greenland as the centerpiece, which van der Kemp said was a coincidence and not commentary on current events.
Overall, van der Kemp wanted the collection to emphasize optimism and eccentricity. The Dutch designer said that his work appeals to a diverse client base that is seeking out wearable art rather than luxury labels.
“Art has the power to get to people, to make people happy, and reach people underneath the skin. And this is what we need to do as artists,” he said.
(Fitting, then, that his work is currently on show at the MAC Museum of Art in Hohentwiel, Germany, in an exhibition titled “Birds of Paradise,” through Sept. 30.)
He’s not going for the average client. “People who find themselves in the outfits tend to be a little bit eccentric,” he said — and certainly not timid.
Van der Kemp’s construction is his strength. Ultimately, you can’t say if the “fashion” is good or bad, because it’s just too much fun.
