My collection is constructed around three archetypal figures that haunt me: the businessman, the “perfect” woman, and the baby. In my eyes, they best represent the inner tuggings. They are playing roles, lying, pretending. My collection shows how the pressure exerted by society – or by ourselves – influences our identities and speaks about this unceasing search for a balance between the need to be validated and personally fulfilled. There is a constant game around insolence and political correctness, a prudishness in the expression of violence. The print and the confrontation between precious fabrics and recycled pieces bring this concept to the forefront. At times the wardrobe is wanting to denounce, at times being accepted while pretending. There is both a fascination and a hatred towards the archetypes and codes. They are sometimes highlighted, expanded, imitated; sometimes deconstructed or turned over to show the love for the inside finishings. This love is also present in the fusion of different wardrobes. It might become erotic, through cut work; the codes are making love, subtly or brutally. As a manifesto proclaiming the possibility of a changing identity, my project is refusing to choose one facet or another, a definition.