'A more exclusive version of Super-Wax, rich in colours and bubbling, and printed with a gloss finish. The most defining (and beloved) feature of a Super-Wax is its duo-colour “bubbling” print effect...
...Grand Super-Wax is a luxurious twist on the original, using Vlisco cotton satin. Grand Super-Wax is made using a highly-unique wax printing technique unlike any other in the world: every piece is created with an unequalled and extraordinary level of care and precision.
First, a design in liquid wax is printed on cotton satin. A base dye such as indigo soaks into the cloth around the wax, leaving behind a deep, intense colour. The magic of the ‘wax-breaking’ during the printing process results in a large, irregular pattern of vein-like bubbles throughout the design.
One single piece of Grand Super-Wax goes through an average of 27 total step before it receives a final gloss finish, and a select number of Grand Super-Wax fabrics are covered from edge-to-edge in transparent glitter.'
Art Paper Editions, Gent January 2022, 80 pages, 21x29,7cm, ills colour, selfcovering, ISBN 9789493146914 edition of 1000 In collaboration with gallery Madé Van Krimpen.
The zine ‘Democracy’ is based on a mythical fashion collection, that goes by the same name, created by Duran Lantink. Both the collection and the zine are examples of how art can challenge and disrupt dominant social and political discourses. Lantinks collection consists of one-of-a-kind pieces created from deadstock and thus creating new work from existing materials referring to Marcel Duchamp’s ready-mades. The pieces are documented in a series of more than 100 photographs in which the tertiary colour magenta is missing, due to Lantink running out of that colour ink on his printer. Despite the absence of magenta, Lantink decided not to reprint the images, creating a set of images that play with the viewer’s sense of perception. In many ways, Lantinks work refers to the practice of Andy Warhol. Although Warhol’s screen printer is not considered a ‘machine’, he used screenprinting to multiply works of art. Warhol also revelled in his apparent machine aesthetic, noting, ‘The things I want to show are mechanical. Machines have fewer problems. I’d like to be a machine wouldn’t you?
Duran Lantink is a Dutch designer based in Amsterdam. Having studied at the Gerrit Rietveld Academie and the Sandberg Instituut—graduating from the latter in 2017—Lantink’s playful, inclusive vision for the future of sustainable fashion has already seen him shortlisted for the 2019 LVMH Prize. With his innovative approach to upcycling, Lantink’s zero-waste philosophy uses pre-loved garments and deadstock fabrics to create fashion as agenda-setting as it is ethical.
On Wednesday November 22nd previous recipients of the Cultuurfonds Mode Stipendium TESSA DE BOER and JORIS SUK of MAISON THE FAUX engaged in conversation about The Art of Fashion. Together with art director Fleur van Maarschalkerwaart and Eva Olde Monnikhof, board member of the Dutch Fashion Foundation, they spoke about finding new tactile and digital ways of expression at PAN Podium during art fair PAN AMSTERDAM.
The term ‘biomorphic’ is derived from two Greek words: ‘bios’ (meaning life) and “morphe” (translating as form). In art, it’s used to describe shapes that evoke naturally occurring patterns – like plants, living organisms and parts of the human body. Italian architect Niccolo Casas works in this space, collaborating with Dutch fashion-tech designer Iris van Herpen and environmental nonprofit Parley for the Oceans.