Ines
Sistiaga





BODY

Tailored Bond
Unstoppable

Fine Tuning
Physical
Uniqueforms 

MATTER  

Al Pot Petit
In Virtue of Glass
Discollection
Fiber





info@inessistiaga.com

0034 618 184 091



Info.-


Inés Sistiaga is a designer focused on the connection between body and matter, graduated Cum Laude from Design Academy Eindhoven, her body of work and research includes a wide array of materials and expertise collaborations.

 
Mark

Uniqueforms


This project proposes a new concept of school uniform that enhances the benefits of its use and alters the strict character of its nature. Exploring its codes and meanings, the purpose is to adapt its values to the multicultural western education context, where diversity is celebrated and the freedom of the individual becomes important, as well as ideals, beliefs and expression tend to be more respected.



Uniforms are not only about utility and practicality, but they also have the ability to govern the subconscious. Who dresses uniforms stops being one and becomes part of a group, fact which can reassure the user, providing a light feeling of collectivity and shared responsibility. Self-expression, though, is threatened by this tool and can play a negative role in the consciousness of the individual as an independent entity.

These garments represent a symbol of common ground. Blurring economic, cultural or social indicators and promoting equality among all children. The shapes and patterns are developed as a set of options, breakable grids that provide a tool for personalisation. Designed for a child, they comply with the appropriate comfort and allow freedom of movement, in addition to being durable and resistant.

From the French revolution to post-revolutionary China, fashion has played a significant role in political participation and protest. In a range of historical and national contexts, certain styles of dress and display were significant for both men and women’s political participation and the formation of their identities as citizens. A semiotical perspective sees the body as a material entity inscribed and pierced by the forces of collective mythopoeia to a point where clothes become the interface between the physical and the metaphysical. What people wear to conceal and expose their persons can take the historian to the core of complex social and political processes of stability and change, conformism and challenge to the status quo. Seen historically, dress is simultaneously cosmetic and functional, superstructure and base, surface and fundament, appearance and reality, private and public.


Mark