Julian Zigerli S/S'14: At the end of the world to the left

“A collision of colours, emptiness and placid chaos”, this simple explanation completely defines Zigerli’s latest collection, enhancing the unknown land between what is real and what is imaginary. It leaves the wearer, and any jealous onlooker, with a feeling of desire to know more about the clothing, and to question what it means.

Zigerli is already an international sensation, with his collections being showcased in Zurich, Paris, London, New York, Florence, Milan, Seoul and his own show in Berlin. After graduating from the University of Art in Berlin, Zigerli has pushed the boundaries of modern design with his abstract mind, and unique theme of publishing a short film to accompany his clothing to display the creative meanings behind each decision that was made in the making of the items.

His latest endeavour, at the end of the world to the left, he collaborated with Katharina Grosse, an artist with visions of swift flowing multitudes of colour leaving the eye of the beholder with the key to interpretation, to create the never-quite-there collection. The clothing is aimed at dissolving the “wall that separates clothing, art and environment”, to materialise this swift explosion of movement and emotion.

The experimental video left you questioning what was really real, and what was an illusion for the eyes to feast upon. The array of juxtaposed textures and movements gave the whole viewing a sense of unreality, and the backing music which was a beating rhythm of melodic notes gave the whole experience an eeriness of instability without place nor time, but beauty.

The short film was collaborated with by Michael Patrick Perez, an experimental fashion, music and video director and editor who wished to delve deeper into the high fashion world. With his work being exhibited in venues such as Oakland’s San Pablo Arts District, his success brought an extra edge to the limitless nature of Zigerli’s work. The slurs of pixels and actions within the film and there to mimic the designs and also the process that the items went through in their making, but it also provides a sense of confusion that complements the unreal nature of the clothing.

This collection not only questions its own existence, but pushes to the extreme on the boundaries that fashion can take, displaying no sense of time or place, but a definite sense of belonging.

Tamara Massey

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