James Fraser

RMIT Bachelor of Fashion (Design)
www.moirah.biz
@satansslippers

A harbinger, mired’

‘You get tragedy where the tree, instead of bending, breaks’ - Ludwig Wittenstien (1929)

This collection employs garments as instruments to process historical notions of ancient cryptology and scripture.

A folklore - ‘A harbinger, mired’ is told as a three look collection, following the path of a letter moving between a Writer, Harbinger & Receiver. Written on the crest of the mountain, the message is sent down its cliffs to warn of a looming flood in the town of ‘Moirah’ at the mountain’s base.

Each of these narrative paths are absorbed by a look. Silhouettes provide semiotics to express each figures harsh body postures. With fabric as its conduit, the writers message is tailored into nooks of the pieces hiding as it descends. Still, buried by blizzards, mired by rain and deafened by a storms howl - the letter may never arrive.

All the while, the waters rise.

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RMIT Bachelor of Fashion (Design)

A harbinger, mired’

‘You get tragedy where the tree, instead of bending, breaks’ - Ludwig Wittenstien (1929)

This collection employs garments as instruments to process historical notions of ancient cryptology and scripture.

A folklore - ‘A harbinger, mired’ is told as a three look collection, following the path of a letter moving between a Writer, Harbinger & Receiver. Written on the crest of the mountain, the message is sent down its cliffs to warn of a looming flood in the town of ‘Moirah’ at the mountain’s base.

Each of these narrative paths are absorbed by a look. Silhouettes provide semiotics to express each figures harsh body postures. With fabric as its conduit, the writers message is tailored into nooks of the pieces hiding as it descends. Still, buried by blizzards, mired by rain and deafened by a storms howl - the letter may never arrive.

All the while, the waters rise.

(Back)