Morteza Vaseghi Imagines Conceptual Collection – WWD

Morteza Vaseghi, creative director of International Library of Fashion Research and his own conceptual collection are both a product of his daily work.

What other way can you explain a film with images like an eyeball in the mouth of a lobster, a woman who has multiple arms wearing what appears to resemble a pine cone and a lobster that raises a claw as toast? Even the title of that five-minute clip sets the stage for the collection — “Rite of Pass-Age” is meant to pose questions of transience, trends and transformation.

But analysis, conundrums and satire are specialties of Vaseghi and the ILFR’s founding director Elise by Olsen. The duo have worked together for 10 years — first at Recens magazine, which Olsen started at the age of 14. The duo then created Wallet magazine, before launching ILFR Oslo 2020. “At the time when we met, she was quite young and a little bit angry at the scene. I had just arrived from London, and was looking for conceptual and colorful art. We called it ‘an angry girl and a ‘hungry man,’” he said.

Developing select merchandise through those endeavors over the past six or seven years, Vaseghi always had the inkling to adjust things just a smidge, whether that be changing the print for a T-shirt or extending a sleeve’s length. As a creative advisor for several brands, Vaseghi recognized the similarities of different design disciplines. He was fascinated by the possibility of transferring the knowledge from one to the other with the help seamstresses or patternmakers. With a background in graphic design and media, Vaseghi has previously worked in art direction and considers himself to be self-taught in the fashion sector despite have a master’s degree in fashion and costume design from the Oslo National Academy of the Arts. Vaseghi was one of the guest designer for A.G.E. at the beginning of the pandemic, in 2020. collaborations.

Vaseghi is fascinated by the idea of liminality and in-betweenness, the psychological transition across borders and boundaries. His collection of the same name is based around six characters: Outsiders, Wonderers, Emperors, Gatekeepers and Muses. Vaseghi, in collaboration with Marc Reisberg and ShowStudio, created a 5-minute short film. Along the way, as the casting was done and the production progressed, Vaseghi tinkered with each character’s costume.

His favorite is the Gatekeeper, who used to be a goddess-like muse and “is now more grounded with a responsibility to decide who goes in and out of these abstract characters,” he said. The big bell-shaped hemline with the tunnel in the center was difficult to make. But they figured it out and the garment was completed so that a person can walk easily wearing it and “not just be there standing frozen,” Vaseghi said.

He explained, “One by one, each of these characters and the pieces are the starting point for a ready-to-wear collection. I’m planning to do between five and 12 pieces from each one. The scenario will come to a conclusion in two years’ time, but I’ll release a new collection every half year. We’re thinking of select shops and online [for distribution] but that won’t happen for a few years.”

Oslo-based designer decided to start his own business because he is passionate about everything that goes before and after clothing. He said that a comprehensive approach was needed to think through the process. Interested by how “maison [training] backgrounds” are no longer needed for creative director roles, provided people have the knowledge, skill sets and a teamwork mindset, Vaseghi said that has allowed someone like himself with a graphic design background to slowly come in “and maybe have a voice in this field, if I do my homework.”

As for what might be wrong in fashion, he said “the very fast pace” that is induced by social media can sometimes ruin the results of a creative, who can sometimes struggle to come up with a new vision every three or four months. “They repeat themselves. They copy others’ creative work at worst. What’s missing is allowing a creative to sit on a project for two years. But a lot of creatives have outside projects that are slower-paced and other projects that are faster-paced.”

Vaseghi mentioned that other experimental side projects are underway for shoes and swimwear “to do this universe building with the language that I am trying to introduce in the next two to three years.” And Olsen is right in stride helping with strategizing and “communications and all of that,” he said. “As two creatives, who have been working together for the past 10 years, whatever we both do has a trace of the other in it. We always brainstorm at the dinner table, at the office and everywhere we are together.”

So much so, while Vaseghi’s brother was visiting, he spelled it out. “He said, ‘You guys are working all the time. You will be sitting and eating or at a party, and you or Elise will say something, giggle about it and then one of you will say, ‘You know, that’s doable.’ Then the other one goes on the phone to make a little plan. Within three days, you are busy with something else and then it just grows.”