The Court of Dreams and Nightmares Collection explores the different social dynamics in the Night Court Society from “A Court of Thorns and Roses” book series by Sarah J Maas through local centric, slow fashion and the sensory imagination of materials for character embodiment. The society is divided into two main factions. One faction is the Court of Dreams, where the majority of people are happy and wish to share their joy. They are the dreamers of the city. Within this environment there is light, laughter, art and a bridge over a magnificent river. It is a place full of colour and light with the artist’s quarter being the heartbeat of society.

 

The alternate faction is the Court of Nightmares and is completely juxtaposed to the Court of Dreams. The Court of Nightmares is cut-throat and viscous. To stay in power, you must make people fear you. This faction is located in a city under a mountain, full of dark tunnels and cavernous spaces, a never-ending maze of stone chambers. Laughter is replaced by screams and whispers, and light with dark shadows and fear.

 

My collection represents the ruthlessness and power versus brightness and softness of these alternate societies and each piece within the capsule collection embodies this essence. Additionally, The Court of Dreams and Nightmares Collection explores local centric slow fashion and the sensory imagination of materials for character embodiment. By being locally produced through personal production, ‘It rejects the impersonal and anonymous transactions associated with large-scale commercial trade in favour of the human touch, where knowing the effect of trade on producer, region and community is integral to decisions made in development of the products.’ (Fletcher & Grose, 2012)

 

Within the different sections of this society, the characters must change their personality and the way they present themselves. The main way this is done is through fashion. My two looks are designed to convey the experience of being part of these fractions of society in The Night Court. As illustrated in Fashion and Sustainability, ‘Besides being essential to sustainability, materials are critical to fashion: they make fashion’s symbolic production real and provide us with the physical means with which to form identity and to act as social beings and as individuals.’ (Fletcher & Grose, 2012)

 

The personal touch and tactile experience of these garments is central to my womenswear collection. When designing the garments, I am thinking about the characters that would be wearing them and the image that they want to convey with them. The Senses: Design Beyond Vision describes how ‘materials define the character of places and things.’ (Lupton, 2018, p.73) This is explored through the tactile sense, both touch based and visual tactility. Is the fabric stiff or soft, what does that convey about the characters’ intentions?

 

My practice is the sensory imagination of materials becoming physical materials and an embodiment of character, as ‘touch delivers full-bodied impressions of places and things.’  (Lupton, 2018, p.38) For The Court of Dreams the top and pants are pleated, soft and flowing conveying the sense of freedom and joy. When walking through the artists quarter you can feel the soft fabric brush against you as a small breeze blows by. In the Court of Nightmares a stiff organza dress with wire in it is covered in sharp embroidery which conveys the untouchable strength needed to survive in the court. The stiff structure of this dress reminds the wearer that posture and presence is key when maintaining power.

 

The pieces for the collection will be produced in Sydney with materials purchased from Australian suppliers. The speed of production is slow, considered and bespoke. ‘It challenges growth fashion’s obsession with mass-production and globalised style and becomes a guardian of diversity.’ (Fletcher & Grose, 2012) Moreover, ‘It fosters a heightened state of awareness of the design process and it’s impacts on resource flows, workers, communities and ecosystems.’ and finally and possibly most importantly in a globalised economy of fast fashion ‘It prices garments to reflect true costs.’ (Fletcher & Grose, 2012) With the collection being made to order it allows for customisation of colour and size with the consumer being brought into the design and production process.

 

References:

Fletcher, K., & Grose, L. (2012). Fashion & Sustainability. Laurence King Publishing Ltd.

Lupton, E. (2018). The Senses: Design Beyond Vision. Cooper-Hewitt Smithsonian Design Museum