Fashion designer Roksanda Ilinčić’s favourite possession reveals an insight into her style…

·1-min read
Photo credit: Andrew Urwin
Photo credit: Andrew Urwin

I originally studied architecture, and it has always inspired my work. My spring/summer collection a few years ago was influenced by Le Corbusier’s tapestries. He has a particular way of drawing female forms, which is very linear, very free – almost Picasso-esque. We deconstructed them and created beautiful collages for the dresses in embroidery and various types of ribbon.

For my second collaboration with Linck Ceramics, I took the elements I’d used on the catwalk and applied them to this totally different discipline. I’d worked with the company once before, but this project is even closer to my heart. The founder, Margrit Linck, wanted to produce ceramics that were art objects, too, and that really drew me to her work. She found a lot of inspiration in the curved shapes of African sculpture.

These vessels are from Linck Ceramics’s archive, which dates back to the 1930s, and they feel so fresh and modern for forms that were made more than 50 years ago. I find pieces that stand the test of time so appealing.

We designed the artwork in our studio, and it was then hand-painted onto the vessels by artists in Bern, where Linck is based. I have a set at home that I use for ikebana-like flower arrangements, and another on display at the office.

Perhaps it’s not necessarily how they were imagined by Margrit, but I always think of this pair as mother and daughter. I’m a mother myself and I have a daughter, so there’s an emotional element for me. That’s the beauty of ceramics.

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