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The debut collection of Slow and Steady Wins the Race was in 2002, but the ideas started percolating and marinating while I was in college studying for my degree in art. I knew from a young age that I wanted to be a designer, and what really interested me was the tradition and technique. My grandmother taught me how to make clothing, sewing, how to finish, how to look at proportions, how to creatively problem solve, and how to consider value and quality. In school, my major was in art and my concentration in sculpture -- and that approach to considering purpose and meaning within the work itself greatly influenced my point of view in design.

What I find endlessly fascinating about fashion and the design that surrounds it is the anthropology and culture of it: the behavior, the modern system, how we interact with it. Fashion is, by definition, temporal and changing, and that is where the existence of classics is so interesting and important. They directly contrast fashion itself. Ultimate classics can be both timeless yet still relevant, universal yet also uniquely personal. 


Designers are expected to present, traditionally, their designs in the format of runway shows or presentations. We present differently in the form of installations that reformat the context of a familiar space. Luxe was presented at the Carlyle, the Clear Colleciton at Paul Rudolph House. For the Clear Collection, we took over the Paul Rudolph House and Foundation in New York on the Upper East Side. It is a townhouse with all clear façade and originally the private residence of the late, great architect Paul Rudolph. It is now his foundation. The floors are all open layout and a lot of the furniture he designed inside was also clear, so it was the perfect setting to have the pieces of the collection placed. 


I was also asked to address the future of fashion. For me, that is all hinged and anchored on the effect of time. I never had a problem being punctual or deadlines. I was an editor at my college newspaper and you were always faced with playing chess with deadlines. Now even I have begun to feel the effects of the accelerated pace and speed of how fashion is moving. Real tasks complete with the speed of the Internet and all the company it brings, stockpiling, bottlenecking, spilling, creating delays. The rattling news of Raf Simons Dior and Alber Elbaz being at conflict with Lanvin now has a very clear microphone. The frustrations and strains due to the demands of consumption are now being felt. I agree with all designers that we need valuable time for ideas to incubate, percolate, marinate. Kiki Smith has a great quote that I keep around as a reminder: A good idea should be like a perfume, it should permeate the air and linger. Ideas need to breathe. Time allows for due diligence and authenticity of an idea. And a good idea will ultimately outlast. 

Tijdelijk Modemuseum
Guus Beumer
Maureen Mooren

Dit project maakt deel uit van de programmalijn De Dingen en De Materialen en het dossier Materiaalinnovatie.

Mode heeft stilzwijgend het idee van vernieuwing vernieuwd door het verleden telkens opnieuw te verkopen als toekomst. Dit staat in schril contrast met de gedachte dat vernieuwing altijd voortkomt uit technologische innovatie.