Issuu

01 RESEARCH

Rick Owens — Brutalist Elegance / Monastic Sustainability

• Uses deadstock, upcycling, and long‑lasting materials

• Philosophy of “reduce, refine, repeat”

• Uniform dressing as anti‑waste

• Brutalist silhouettes that age well rather than expire

Martin Margiela — Deconstruction / Transparency / Anti‑Consumption

• Repurposed garments, found objects, reconstructed vintage

• Exposed seams, raw edges, visible process

• Challenges the idea of “newness”

• Anonymous collective creation, anti‑celebrity, anti‑waste

Jeremy Scott — Pop Satire / Consumer Culture as Costume

• Pop‑culture sampling and cartoonish exaggeration

• Camp as critique of consumer desire

• Nostalgia as weapon

• Fashion as performance and identity play

Vivienne Westwood — Activism / Cultural Subversion

• “Buy less, choose well, make it last”

• Political messaging embedded in design

• Punk as a tool for environmental critique

Virgil Abloh — Streetwear Systems / Remix / Repurpose

• Recontextualization as method

• Streetwear elevated to luxury

• Industrial materials + text as design

• Transparency of process

• Objects as cultural interfaces

Demna (Balenciaga) — Consumerism, Irony, Trauma, Hyperreality Demna’s work is a direct confrontation with the modern world:

• Consumerism as aesthetic (shopping bags, trash bags, DHL, Crocs, market totes)

• Irony as critique (luxury vs. banality, high vs. low)

• Trauma‑coded silhouettes (protective volumes, anonymity, armor)

• Distortion + exaggeration (inflated shapes, warped tailoring, padded forms)

• Recontextualization of everyday objects

• Meta‑commentary on fashion’s waste, hype, and spectacle He uses fashion as a mirror — sometimes uncomfortable, sometimes absurd — to expose the violence, humor, and contradictions of contemporary culture.

BRUTAL

ANDROGENE

Lorem ipsum

ANONYME

deconstruct transparance

consumerism

satire

CRITIQUE

DISTORTION

MY TR@$H

My brand explores the emotional, digital, and material afterlives of consumption — the objects we desire, discard, archive, and resurrect. I’m building a universe where trash becomes testimony, nostalgia becomes critique, and the body becomes a site of data, memory, and denial.

It began with the tr@$h bag project, a study of childhood nostalgia, technology obsolescence, and the capitalist rituals that shaped my generation. What started as a playful experiment — turning discarded materials into “capitalist childhood artifacts” — revealed something deeper: people wanted to carry their past, their obsessions, their loneliness, their humor. Customizing each bag for “the girlies” I love showed me how consumption becomes emotional infrastructure.

From there, my work expanded into Transparent Archives, where the shirt becomes a swollen data vessel — a place where receipts, barcodes, pill packets, and binary codes inflate into volume. Transparency becomes exposure; pockets become storage units; seams become evidence. It is clothing as documentation, vulnerability disguised as structure, a reminder of how easily a life becomes something to be scanned, sorted, and quietly forgotten.

Then came Anonyme, a project about complicity and erasure. Here, the body becomes a faceless stand‑in — neither villain nor victim, just another interchangeable part in the machinery of excess. Cuts behave like scorch marks, volumes warp like heat‑bent architecture, and the silhouette hangs between violence and vacancy. It is a uniform for the one who could be anyone, a mirror held up to the truths we helped create.

Finally, Kidult Konsumerz dives into false intimacy and emotional capitalism — pastel fever dreams for the lonely shopper. These pieces weaponize nostalgia, exposing how contemporary culture infantilizes us through overstimulation, branding, and the promise of connection through consumption. It is fashion for the overstimulated and under‑touched, for those chasing drops like affection and scroll for collabs like companionship.

Together, these projects form the core of my brand: trash as archive, data as memory, nostalgia as critique, and clothing as emotional evidence.

My influences — Margiela’s deconstruction, Rick Owens’ brutalist honesty, Rei Kawakubo’s conceptual rebellion, Yohji’s emotional volume, Miyake’s technical futurism, Westwood’s activism, Gaultier’s satire, and Demna’s hyperreal critique of consumerism — shape the intellectual backbone of my work. From them, I learned that fashion can be both garment and commentary, both object and mirror.

Sustainability in my brand is not purity; it is transparency. It is acknowledging damage, revealing scars, and transforming waste into something emotionally charged. My silhouettes oscillate between childlike softness and adult cynicism, reflecting the tension between innocence and the systems that shape us.

Ultimately, my brand exists to question the systems we participate in, to honor the emotional weight of objects, and to build a universe where critique, nostalgia, and craft coexist. It is shaped by Paris — a city I dreamed of since childhood, where fashion is lived and intellectualized — and by my own lifelong fascination with the political, expressive, and transformative power of clothing.

tateschmerg

tateschmerg A THi$ i$ M@rk3tiNG

2 started the tr@$h bag project to comment on childhood, nostalgia, consumerism, technology obsolescence, and rapid mindless consumption how it relates to fashion+ the luxury industry.... For wave 1, I opened limited orders to see what it would be like to create these bags, aka statements on a capitalist childhood (!!) - and I was shocked at how many orders came in This has been such a fruitful exploration of personalization and accumulation... It's become even more of a joy to customize designs based on DA GIRLIES and people I love based on different nostalgia and childhood obsessions. @ Endless thanks to you for your support of my creativity, my work, exploration, and journey into fashion. Here's to MORE TR@$$$h e

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lauren.kramer Not me running to the link in bio

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claudiashevitz I am so obsessed 50w Reply

jenniebull Most beloved bag 50w Reply

jenniebull You're AMAZEEEEE A 50w Reply

lindsaymoriarity so cool

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bricti hankatt VECC 00