Rachel has a complicated relationship to glamour, being obsessed with it, but hating it at the same time. She loves its dreamy exterior, but dislikes the ladylike behavior that in her eyes exists alongside it. She does not like it when somebody tries to draw within the lines, it is way more fun if one doesn’t. Perfection is a bit boring right? By aiming to adopt the constructions of classical couture and adding the right amount of conceptual friction, Rachel creates what she calls
This friction is also shown in Rachels use of material; only using fabrics made from a 100% natural fiber or natural fiber/polyester blend, they can dissolve naturally over time. This on one hand is sustainable, but in her eyes also a shame, for an ugly polyester fabric will exist forever. Her love for certain materials originate from their archetypical character: The association of satin with for example; luxury, a cool wool with a suit or Jersey with a T-shirt.
For her garments Rachel does not buy any newly produced fabrics/materials, but solely works with deadstock. To achieve a certain archetypical character, she uses discarded clothing to reach her thematic goal, think of old Jersey T-shirts, leather biker jackets, lingerie and parts of corsets. But most importantly, she is always on a quest for the highest quality materials, that if taken care of, will survive the test of time.
Rachel takes offers through a made to order system, avoiding overproduction. She does not want her customers to buy out of impulse, but from a real desire. After you have waited a long time for a garment to be produced, you will most likely take care of it. And if it happens you’re done with the style, the quality should be good enough to sell it to a new owner, who will cherish the garment as you have before. For her, circularity is all about this principle.
BY LOTTE SCHRIEK
BY LISELOT HOEKSTRA
BY DION BAL
BY LOTTE SCHRIEK