«From the unexpected symbiosis of its elements comes KRJST»
KRJST takes its character from the polyphonic identity of prismatic art. «Arriving at one from the multiple» is the red line from which KRJST's RTW collections are formed. The fruit of a collaboration between Justine de Moriamé and Erika Schillebeeckx, two designers and formers la CAMBRE students (2011) with notably different personalities, KRJST truly reflects a unifying duality. Each as well as the five's collaborators of KRJST's team are invested not only in fashion, but in other art forms, further enriching KRJST's KRYZHOME.
KRYZHOME is an allegorical expression of KRJST's ethos, exploring themes of melancholy, alienation and extravagance. It is from the eclectic association of all these elements, of art, color, material and emotions within a structure of intuitive osmosis, that KRJST is born.
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Nouveau Marché aux Grains, 6
WOMAN + MAN
6-7-1-B Jingumae Shibuya-Ku
Avenue Albert, 38
KR : 0032 474 24 09 27
JST : 0032 499 42 75 49
8 bis, Rue de Bracque
0033 142 78 50 20
Bld Guillaume Van Haelen, 12
0032 475 53 03 03
40, Rue d'Aboukir
0033 155 34 75 30
THE BIG CHIEF, MONTANA COLLECTION
Through the new Big Chief, Montana collection, KRJST team continues its artistic and somehow historic pilgrimage. This time, the collection reads like a moving journey to New Orleans (Louisiana) and features as usual both womenswear and menswear pieces. In line with previous collections, Big Chief, Montana combines inspiring weaving techniques with innovative prints. In this collection though, colors particularly carry meaning, and are played with in order to foster specific emotions. A must see collection!
NEW ORLEANS – The collection explores New Orleans rich cultural traditions. Jazz music, funeral and Mardi Gras processions, gospel sounds, original and Indian heritages have been generous sources of inspiration for the collection. Delicate and sophisticated fabrics render harmonious style while colorful designs make the whole collection embedded with spirituality and rhythm. Through their print shirts, shorts, pants, dresses or skirts, KRJST once again mixes local-inspired and universal feelings. The most-impressive design of three local black men playing jazz music tells a story that goes far beyond a single song. So does the dress on which a native Indian captures the eyes. Similarly, colorful pieces render a shared happiness and recalls a common history local people are willing to share. References to New Orleans memory are subtly made and the cultural diversity is given particular importance. Cuts and fabrics, for instance, mirror the coexistence of both traditional customs and Christian faith. Afro-American dances and songs are strongly present in some pieces as well. All in all, Big Chief, Montana collection imbues a contemporary collection with authentic sentiments.
CALL AND RESPONSE – One important source of inspiration for this collection has been the so-called Call & Response paradigm. As in jazz and gospel music, the collection is somehow “set into dialogue”. Each cloth is meant to propose various meanings, or various ways of wearing. Nothing is ever fixed, as KRJST likes to recall. Each call requires a response, whatever it is and whoever formulates it. In the Big Chief, Montana collection, the concept is further investigated so as to invite each guest to listen to New Orleans voices and to participate in this polyphonic story. The black and white shirt is telling you a colorful myth, at times darkened by tragedy, at others enriched by resilience. In brief, the collection passes memories on, and more than that, aims at creating links through both time and space.
PRINTS – Artistic self-designed prints have become KRJST trademark. In the Big Chief, Montana collection, these arouse calm and mystery. Some prints reflect iconographic art, others mirror abstract images but they are all related to KRJST endless journey through space and time. Besides the fantastic and still surprising design work of Mister Pimpant, the Big Chief, Montana collection allows us to discover the remarkable designs of Charlotte Dunker. New also this coming season are most welcome basics that can be easily associated with surprising pieces such as loincloths. Prices have been adjusted without reducing the high quality of the materials.
“GHOSTS ARE ALL AROUND US...”
KRJST III “Feeding the Ghosts” draws inspiration from new sources, which are nevertheless still in line with former collections. This one mirrors once again the ongoing tension between dominant vs. subaltern cultures, between the centre and its peripheries. In contrast with KRJST I which primarily focused on religious subversion, and in the continuity of KRJST II, KRJST III insists on the historical dimension and, more specifically, on postcolonialism. The collection has been particularly nurtured by South-African artist William Kentridge and his work in which he reflects on his own country haunted by a “past that does not pass”, as well as on traumas and human condition in general. Other influences have also turned especially inspiring, such as the rapper Spoek Mathambo and his “She’s lost control”, which challenges one Western music canons and adapts it to South-African feelings, the “blues” music, which make slaves‘ songs still alive, the writer J.M. Coetzee or postcolonial literature in general. All of these influences bring a message of resistance towards dominant culture and attest the will to give voice to the “ghosts” that history has forgotten.
Like in Kentridge’s work, and in reality like in KRJST II as well, the obsession with history and its leftovers is artistically translated thanks to dual processes of deconstruction/reconstruction as well as of individualisation/collectivisation. Individual stories, or clothes, are used to epitomize a common experience which can be revisited again and again so as to give it new meanings. Slavery, life on the plantations, Apartheid legacies are part of the haunting pasts that have given birth to this collection. KRJST III alludes to such experiences, it reveals scars left by the past and exploits the ambiguous feelings that are linked to history(ies). The collection’s colours, especially the blue one, may in turn symbolize hope, frustration, disappointment, revival or invisible wounds. Polyphony is set into motion, diversity is given the floor. Like in previous collections, clothes are designed for both, men and women. Both are so intrinsically linked, they cannot be grasped separately. This time, KRJST III also intends to reflect a specific rhythm. Cuts and design are associated with sounds and the whole collection is an invitation to move one’s body.
All in all, through their “Feeding the Ghosts” collection, KRJST designers are continuing their journey through time and space. Still working with Mister Pimpant, they have just added an overwhelming postcolonial picture to their kaleidoscopic work.
«It all started with the Glitch…»
With its second collection, KRJST confirms its desire to explore history and to reflect on some of its most mysterious periods. “In search of lost time by investigating fragmented memories” sounds like the motto of this new collection. This time, KRJST has been travelling into the past of the former Soviet Empire and its satellite countries. In line with their philosophical stance which fosters diversity, Justine and Erika have drawn inspiration from the contested recollections left by this complex puzzle.
KRJST’s mixed creations refer to both, the official memory and what could be rather termed a popular or vivid memory. Indeed, allusions to the official and institutionalized political system are subtly made by means of emotions and values, by references to military discipline, to the establishment’s rigor, to religious devotion or to the power’s dogmatism. These are simultaneously challenged by subaltern memories which are here and there embodied by traces of resistance against censorship and of the search for freedom.
As was already the case with the first collection, some kind of harmony emerges from this apparent visual chaos. Echoing Kusturica’s work, KRJST fashion designers tackle with raw material in order to give it a new and unexpected shape. No revolutionary feeling or any form of protest can however be extracted from the collection. It rather leads to question the way things have been experienced. To achieve that aim, KRJST first elaborates on a deconstruction process of these historical memories before initiating an artistic re-creative work. Regulated emotions are contested by means of basic sensations. The cutting’s rigidity, which is inspired by military dressing, is counterbalanced by the fabric’s smooth texture and by unexpected colors. Being both hard and soft, rough and smooth, clothes’ architecture reflects a prismatic angle. The conscious use of the glitch allows to admire accidental disjunctions and to enjoy deliberate failures. All in all, Justine and Erika attempt to offer a new reading of a multifaceted history which they originally translate into the design of unfixable clothes.
Thanks to their printings, and to Monsieur Pimpant’s collaboration, KRJST is definitely working on gathering together fragments of a complex past. With this second collection, KRJST henceforth attests its will to make sense and create unity out of diversity.
«From the unexpected symbiosis of its elements comes KRJST»
The first collection of the Brussels-based collective KRJST takes its character from the polyphonic identity of prismatic art. "Arriving at one from the multiple" is the red line from which the different pieces in the collection are formed. The fruit of a collaboration between Justine de Moriamé and Erika Schillebeeckx, two designers and former La Cambre students (2011) with notably different personalities, KRJST truly reflects a unifying duality. Each as well as numerous guest collaborators in the collection are invested not only in fashion but in other art forms, further enriching KRJST's platform.
An emblem of artistic synchronicity, #KRJST1# is born from the meeting,or perhaps confrontation, between two cultures. On one hand, #KRJST1# takes its inspiration from the silent nature of catholicism, exploring its iconography, its symbols and its figures. On the other hand, it draws on hippie culture and a desire for self-expression and sub-culture. Working in harmony with these two inspirations, #KRJST1# attitude and cut draws on the recurring image of the Rose window and the Virgin. The symbol of the cross with its vertical and horizontal axes evokes memories frozen in time. This reinvented sense of spirituality is then associated with the spirit of Woodstock and its organized chaos and creativity. These influences crystallize in the fragmentation of the collection's prints and tapestries.
The microcosm of opposites is further played with in fine details. The tank top at once evocative and sober, provide contrast in their lightness under over-sized jackets. At the same time, the male-female antagonism becomes a catalyst in the collection's synergy. For example, its chosen colours reflect this classic binary's ambivalent but none the less joyous and serene energy.
It is doubtless KRJST's prints, realized in collaboration with the illustrator Monsieur Pimpant, which constitute the strongest point of the collection. Considered to the smallest detail, these prints are allegorical expressions of #KRJST1#'s ethos, exploring themes of melancholy, alienation, and extravagance. It is from the eclectic association of all these elements, of art, colour, material, and emotions within a structure of intuitive osmosis, that #KRJST1#is born.