The Bite Magazine - Autumn/Winter 2021 - Issue 30

bitefashion “Yarn does not scratch the skin and the processing creates a completely new wearable comfort that cannot be compared to wearing fabric,” she explained. “The crocheting also under- lines the elegance and grace of a woman instead of making her look clumsy in it. Crocheted ball gowns are in no way in- ferior to the massive material appearances of the ball gowns of that era. They adapt and recreate a clothing style from the past two centuries into modern times and, in doing so, they have produced a completely new appearance in the classic, centu- ries-old handicraft.” The designer added that the first look represents a break from the traditional designs of today’s fashion for her. Instead of speed in production, there is deceleration through highly precise manual work and in place of quantity through mass production, quality through care and attention to detail is more acceptable. Short life through susceptible material loses to longevity through robust material and fleeting through the economy is less preferable than sustainable through ecology. The simple one wearing variant is replaced by a diverse 10 stretcher variant. Lisa chose the patterns of the dresses for different reasons. The shell pattern because of its name, the lattice pattern because of its clear lines that stand out for professionalism and precision, and the rod pattern because it imitates the waves of the sea through its mass. All of these processes connecting ultimately led her to the design of the blue and red dress. In the second look, the designer looked to Alexander McQueen's love of birds by designing it in such a way it captures the bird in its heavily broken down basic forms, which nevertheless present- ed a challenge for the representation in the crochet. For exam- ple, the standing feather collar or the headdress modelled on a sitting bird. In the third look, Lisa modelled this on nature. She explained that many of Alexander McQueen’s flower-filled creations in- spired her focus. It was important to her to present them in all forms in a multifaceted way such as the blossoming and with- ering in the plastic arranged leaf tendril on the arm, chest and back area, or the crocheted motif of an already brown ivy ten- dril and brown embroidered crocheted branches on the waist. “The message of my crochet designs is to renew the outdat- ed ways of thinking about handicraft, especially crocheting, and to make clothes that seem not impractical, but multifunc- tional and friendly, with the look of centuries-old handicraft,” the designer reiterated. “Mainly my work is created through non-fictional stories. I am very much inspired and taken by the fashion between 1850 and 1960. The main focus is on making these different styles socially acceptable again through a completely different production method, crocheting.” She went on to say, “My designs are often carried by feelings