Liza came across an image of Sarah Bernhard in the role of the Byzantine empress Theodora and the image got stuck in her head. It emanated intense power, but also there was a sense of vulnerability, timelessness and very pure femininity. From that moment on she knew what she wanted her collection to be.





The center of her research became the topic of women in history/art who were portrayed as creatures able to enchant and enslave anyone who crosses their path, such as Oscar Wilde’s story of Salome and the dance of 7 veils. In the eyes of the western artists, writers, etc. the Orient was perceived as an exotic land where women through dances and tricks can become the embodiment of the later established concept of femme fatale. Common beliefs such as women as weak and frail are refuted, many misconceptions are overturned, the use of the flower as the main symbol of this design has a similar meaning behind it, it is no longer seen as a thing of beauty only, but is given a mysterious strength.




Looking into the Ottoman empire, we can find a new way to think of the flower, thinking unknown to the western world, the tulip had been the image of the strength of the empire, which was a place where women held a unique self-contradictory status of being all powerful and completely powerless. The tulip was transformed into a garment intertwining the day to day value of clothes with the hidden meaning behind them. In this manner when the garment is worn it reveals a woman that is a walking fairy tale rich in history, ideas and philosophies.








The complexity of womans journey through time is a recreation of the image defined by surreal beauty as a mythical figure hidden behind layers of illusive fabric. She is consumed, molded and recreated. She blooms and then she dramatically decays.





Intense textile methods, intrusive embellishments, loose threads and complex constructions intertwine and reflect on the hidden layers of timeless femininity. Myths become reality and reality disappears.






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