Daniela Harsch

The Collection questions the concept of masculinity in western society today and deconstructs social rites that are passed through in every culture to facilitate entry into society as well as the gender roles connected to them. It mainly focuses on the wedding and the wedding dress and creates a utopia in which the man is free to choose his own role and he can take the one of the bride. A detachment from the negative qualities attached to the bride’s dress is shown as well as a breakaway from the social norms it carries.

A new aesthetic for men is created that usually would not be accessible to them. Men today are just as much under pressure and vulnerable to commercial and mental manipulation as women are. Feminine connotated characteristics such as sensitivity and compassion are still frowned upon men. those who show these traits are often ridiculed and seen as weaklings. Traditional masculinity is ingrained in boys everywhere, they don't even notice. They are taught to be strong and not to cry. Being strong is understood to function as a waterproof vessel, both physically and emotionally. The collection focuses on seeing the heteronormative, hegemonic man as a minority. Men are portrayed who want to call themselves feminists, who feel overwhelmed and oppressed in their actually superior, privileged role.

'WEEPING HUSBANDS AT THE FLOWER SHORE' focuses in particular on the shape of the garments. The shapes are mostly amorphous and only form symbiosises with classic garments in particular spots. The main reference is the wedding dress but the pieces do not only serve as that and can be worn in other situations as well, so they are no longer intended for just one day. New processing techniques substitute classic wedding dress workmanships. Dried flowers were delicately embossed into the fabric. The effect of this technique is similar to embroideries and plisseé but a faster alternative.