Why do we sacrifice truths to gain content in a world that’s far from content

quEstion MaRk

A chillingly ubiquitous ambiguity hangs in the air
- dash - thick as smoke billowing from factories
- dash - breeding more detachment than interest
Now is the time to tear down false idols of fashion’s past.
In IcONoCLaSm Liam Hodges inverts iconography from the bones of streetwear - long live clothes - as the ruins of the
capital of Ism becomes the particles that make up the parties that you attended, wearing garms that were lended. Tees,
shirts and trousers are transposed and materials are repurposed for a - dash - future free of facetiousness.
Familiar figures and foreign processes make up Liam Hodges AW20, as we move into a recognizably alien landscape of
elements that could have been avoided, previous explorations of the self in a digital age are supplanted by investigations
into the redistribution of power and creation in a world turned upside down by a thirst for production rather than
Past labels are recycled, as former conceits are broken down, ego is diluted and eco-anxiety grows. T-shirts are inverted
reflecting not only fashion’s dilution of morals but also the need for duality hereafter. Trousers are constructed from panels
of repurposed fabrications of previous iterations, while bucket hats are imagined in recycled yarn and unwanted vintage
A number of pieces are handmade in the design studio; 106 ‘D’ grade flannel shirts are shredded and ‘rugged’ into a
woven base creating the chimeric coat, recycled yarn is crocheted, fusing modernist layers of leather harmoniously
together, referencing the past, while listening to the future. Other garments are comprised from jersey yarn recycled from
factory offcuts. Various pieces are imbued with sections for the wearers own manipulation - to inspire ingenuity and
unspoken collaboration across nations.
Graphic and text fluctuate between eras and landscapes, Shakespearean and retro-futuristic at the same time,
referencing not only the undulating elegy of ‘The Tempest’ but also Aldous Huxley’s seminal work, reflecting society’s
eagerness to enter an era that will be forever influenced by the past. “How beauteous mankind is! O brave new world,
That has such people in’t!” - a quote emblazoned on a hoody, reflects the prescient nature of fashion; that everyone
is hungry for the next aspect of newness that, in reality, is never new. The ‘Crochet Club’ graphic is based on vintage
crochet imagery and hobbyist patterns: the woven graphics and symbols are their own lexicon, that speak to age-old
traditions of weaving.

new ideas
What is the point of exclamations when there is so little education?