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Ece Özalp | Fashion Designer

Onur Çoban

Photo: Mark Tantrum
Photo: Mark Tantrum

In her eponymous brand, Istanbul-based designer Ece Özalp shapes the worlds of the possible future by putting nature at its centre. Inspired by the essence of nature, her designs feature rotational symmetrical forms that reflect universal formations and cycles. With a retro-futuristic style, Ece blends sportswear with bold designs and high-performance fabrics, creating an innovative language with unusual materials. She balances her designs by skilfully using contrast and negative spaces. We chatted with Ece about how she is shaping the world in this creative journey and her wearable art piece Ethereal Shift, which won the International Design Award at the World of WearableArt.

Interview: Onur Çoban


Who is Ece Özalp? Can you briefly tell us about yourself?


Born in 1983 in Istanbul, I spent my childhood years sewing clothes for my Barbie dolls and building houses and furniture. Creating something with my hands has always been my greatest source of joy. Like many people who have to make decisions about their future at a young age, I studied International Finance at Bilgi University, thinking that I had chosen a general department at that time. However, on the first day of school, I realised that I would not be happy in this field. This choice was the beginning of a search for a profession that I would love to do throughout my life, and I soon realised that this profession should not be a non-creative field for me.


After graduation, I decided to follow my dreams and studied Fashion Design at LaSalle College International in Istanbul. Then I completed the Fashion Design and Management programme at Istanbul Fashion Academy and prepared my first collection Perception in 2015. With this collection, I participated in the Fashionclash Festival in Maastricht and this festival was a turning point in my career. There, I received my first fashion show offer from Rotterdam. I can say that every work I presented opened the door to the next event. Then I had the chance to present my collections at international events such as New York Fashion Week and Vienna Fashion Week.


In the fashion world, there are certain methods that brands follow commercially; however, these methods are usually costly and require large teams. I have drawn an alternative path for myself on my own. Focusing on producing works that I feel good about, I started to participate in events in different countries of the world where creativity is given its due. Each event opened the door to the next one and thus I had the opportunity to progress in my own unique way.


I also had the opportunity to exhibit my more artistic works in important exhibitions such as Weareable FashionTech Festival Paris, Galeries Lafayette Marseille, De Bijenkorf Maastricht, CES Las Vegas and Identity Dress Slovenian National Museum. I was awarded prestigious awards such as OpenMyMed Prize (Maison Mode Méditerranée) in 2017, BIGSEE Fashion Design Award (Fashion Forward category) in 2019 and World of WearableArt International Design Award (UK & Europe) in 2024.


How would you describe your design philosophy?


For me, design is not only about creating a product, but also a way of expressing my emotions, thoughts and imagination. In this direction, I consider fashion as a branch of art. I find it meaningless for me to design products that are the same and can be seen everywhere. I do not prefer to be a part of the ‘copy-paste’ approach that constitutes the majority in the fashion world. Trends are not decisive for me. It is very valuable for me to make my designs timeless, to create works that do not feel like they belong to a certain period.


Ethereal Shift


My design process usually starts with creating an imaginary world in my mind. I can say that I dress that world. At the end of this process, futuristic artefacts usually emerge. Retro-futurism is one of the concepts I work on the most and feel close to. Dreaming and transforming these dreams into a concrete form is one of the most important things that nourish me. This process feels like an expression of my imaginary world and my inner feelings; it becomes a way of expressing myself. I love working with unconventional materials and techniques. I enjoy the combination of contrasts. It is a great excitement for me to discover what can be achieved by combining different materials or contrasting ideas.


Can you tell us a bit about your latest wearable art piece Ethereal Shift, which won the International Design Award at the World of WearableArt?


WOW was an event that I have been following with admiration for many years and dreamed of attending one day. Honestly, I never thought I would get an award; for me, even being a finalist was a big goal in itself. To be a finalist in this competition, where the best costume designers and wearable artworks from around the world come together, and to have my work staged as part of an incredible 2-hour theatrical performance was a great enough honour for me.


However, when I was announced as ‘From Turkey’, I had an almost surreal experience. My ears started buzzing and I said to myself ‘Just stand up and walk to the stage’. It was an incredible feeling to feel the pride of being the first Turkish finalist and award winner in this event that has been organised for 37 years. I still haven't fully grasped the reality of it; it feels like I had a beautiful dream.


Photo: Mark Tantrum


WOW is a world-renowned wearable art experience that brings together art, fashion, theatre, music and performance. Founded in 1987, the competition aims to bring art to the body and celebrate creative expression on stage. As the founder of the competition, Dame Suzie Moncrieff, said: ‘Taking art off the walls and putting art on the body; celebrating creative expression on stage and filling everyone with inspiration.’


 

"My work Ethereal Shift represents an ethereal being in a cocoon and explores themes of hope, unity and transformation. The design is inspired by traditional Turkish quiltmaking and combines modern techniques to bring together both the past and the future. Honoring the transformation journey of the cocoon, this work brings the rebirth and metamorphosis of nature into a wearable art form."


 

This process has also been a reflection of my personal transformation and renewal process. With its futuristic silhouette and handcrafted details, Ethereal Shift is a piece inspired by the past and the future. The headpiece is completely handmade with a fine wire bending technique. The cocoon-shaped puffer dress combines aesthetics and functionality, both of which were shaped after a long process of trial and error.


This journey was a process of rediscovering my creative energy. Ethereal Shift embodies my years of retreating into my shell and then my journey of transformation where I regained my life and my power of production. I am very happy that this work has found its place on the WOW stage as a symbol of resilience, transformation and artistic discovery.


Can you tell us a little bit about the production process in your work? Which of the analogue or digital techniques are you closer to?


I usually use a combination of analogue and digital techniques in my production process, but I can say that I am more inclined to digital techniques. I always prepare my patterns in digital environment. I create my patterns in analogue by draping method, transfer them to digital and complete the pattern placement process in digital.


Incarnations of Inanna, Ece Özalp x Meltem Şahin


I do everything alone, from the intellectual process of the design, to pattern making and pattern designing, to the sewing stage. In this process, every detail affects the integrity of the work. For example, a 5 cm change in a mould can make the design look completely different. Or the sewing technique used can produce a completely different result. For me, the design process consists of a continuous cycle of making decisions and making applications even in the smallest steps.


I adopt a purely experimental approach. I learn a lot with each new design, because I have to solve problems I have never encountered before in order to reveal the image in my mind. Although this process can sometimes be difficult or time-consuming, if there is a solution, I do my best to find it. If necessary, I do not hesitate to learn a new programme or develop a technique that I do not know. For example, when I was preparing my Ethereal Shift piece, I made countless experiments to find out how to make the headpiece. When I finally decided on a solution, the implementation process put me through an unfamiliar experience. I put the headpiece together by hand stitching day and night for 3 months. Since I used aluminium wire and the transparent material I preferred was very hard, I had to constantly struggle with the quilt needle. At this stage, there were often moments when I thought, ‘I wonder if this technique can really be done, or am I trying for something impossible?’


The production process is an emotional roller coaster for me. I love these ups and downs, just like I love real roller coasters! One moment I feel like ‘I'll never finish this’, and the next moment I regain my motivation by saying ‘I think it's happening’. Even in the most challenging and complex moments of the process, it is a must for me to do justice to my work. I can work for days or even weeks for a tiny detail that no one will ever notice.


Design is actually a problem-solving process in itself. I need to make the right decisions in order to reveal the image in my mind. When the production is finished, I see the resulting work for the first time. I set out from a dream, I create a product that is shaped by the decisions I make throughout the process and finally completed. This integrity arouses different emotions in me. Because I actually don't know exactly what will come out when I make the last move and finish. This is the best part of the process. At the end, those difficult moments seem to be there to give me this feeling and I remember why I continue to do this work. The painful parts of the process make sense at that moment. Although I usually work alone, I also love collaborating with other artists. Breaking the solitary nature of design and creating a shared dream with someone else enriches my creative process.


For example, I collaborated with my close friend and talented artist Meltem Şahin on the Incarnations of Inanna collection. This creative process, which combined her and my strengths, was both an enjoyable and instructive experience. In 2016, we realised the What is Real projection projection projection project with my esteemed artist friends at Bi'şeyler new media agency. With this project, we took part in platforms such as Vice Creator Projects and were invited to the opening ceremony of Weareable FashionTech Festival Paris. We also had the opportunity to exhibit our work during the festival. In 2020, I collaborated with Xtopia Immersive, founded by Lalin Akalan, to design the costumes for the audiovisual performance Live Choir AV, which was exhibited at Sonar Istanbul. It was a very inspiring experience for me to work with artists from different disciplines in this project, which took traditional choir performance to the next level with the support of technology.


In addition to collaborations, I also care a lot about who the people I work with are. From the sewer to the fabric maker, the moral values and work ethics of the people I collaborate with are very important to me. Honesty, having ethical values and being a good person are my indispensable criteria in both my professional and private life.


The Seed of Life


Can you tell us a little bit about the sources of inspiration behind your work? Who are the names you follow with curiosity in this field or in different disciplines?


My curiosity about the functioning of the universe is the biggest driving force of my designs. Science and philosophy are the two main sources that I think about frequently and deeply influence me in my production processes. Being inspired by nature is indispensable for me. Both the complexity and harmony of nature fascinate me every time and enable me to develop new perspectives in my creative process.


I like a futuristic approach in my designs. It is very valuable for me to consider subjects from different perspectives and to explore new ideas and questions that these perspectives raise. This process feels like bringing opposites together to create a new whole. In particular, my existential pangs and fluctuating psychology move with me in this process. These inner fluctuations are reflected in my designs by taking strength from the harmony of contrasts.


As for the names I am inspired by; I admire Iris van Herpen's every work. Her aesthetic language, technique and innovative approach fascinate me. Even in a single design, there is an incredible depth and detail. Besides, Kunihiko Morinaga, one of the names I have just started to discover, draws my attention with his experimental approach. His pushing the boundaries between fashion and technology and questioning traditional approaches are very inspiring. My interdisciplinary sources of inspiration include art, architecture and music. Especially abstract artists and architects inspired by nature deeply influence my work. Music, on the other hand, not only helps me to focus on my design process but also determines my energy and rhythm.


As a result, my sources of inspiration are a combination of stimuli from nature, science, philosophy and different disciplines. Each of them is a part of the elements that shape my designs and push me to create. In addition, collaborations with the artists I produce with allow me to explore different perspectives and new ideas.


Perception


Are you excited about the future? What are your plans?


I am excited about the future, but this excitement is sometimes intertwined with uncertainties. How I handle these uncertainties depends on my mood at that moment. Right now, after the World of WearableArt competition, I am in a period where I stop and breathe. After 6 months of an intense physical and mental journey, I am taking some time for myself. But I feel that I am nearing the end of this break; I am slowly going through the pain of ‘What's next?’ In fact, I experience the same feelings during these breaks before and after each of my productions; this cycle has become a part of my creative process. Although sometimes this process can be a bit scary, I know that it actually provides the space I need to create new things.


I plan to continue working in this field as wearable art offers me the opportunity to explore my experimental side and produce in an unlimited field of creativity. I also want to continue working on designs that people can use in their daily lives and produce such collections.


Dressing is a form of expression for me, and the idea of being able to touch people's own forms of expression with my designs and to offer a tool to their lives in this direction excites and motivates me. My feelings are always a guide in my productions; my inner emotions are the main element that directs both my life and my designs. The future feels like a journey of creative discovery to me. Whatever the field, I will continue to follow my feelings and curiosity by listening to myself in this process.



BASILI EDİSYONLARI KEŞFEDİN

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