This collection started with research investigating the history of camouflage, but during the initial research stages Orlanda was also writing her dissertation and that research quickly took over and began to dominate her creative projects. The dissertation, which explored the symbolic nature of the hoodie and its manifestation of toxic masculinity in urban British youth culture, mirrored the stories of the young men around her, and that of her own experiences and understanding of the social pressures on men, witnessed in her family. While her research and dissertation largely focused on the assumptions and negative stereotypes associated with young BAME men from the inner city, her collection took this stereotype and warped and moulded it to become a more open framework to rework the restrictions previously tied to certain garments. CCTV, facial recognition and stop-and-search featured heavily in the research, as this forced Big Brother like control on a community already villainised and further fuelled a desire to conceal oneself.




The hood, balaclava and tracksuit became key pieces that were reworked, as garments that cover the face, hide the body and allow for concealed possessions. It was important to still understand the garments origins, but to invite a more open assumption of who the wearer was. Through archival research and extensive toiling and draping Orlanda found a balance between the original garment’s signatures and her own. The final products are designed to conceal and reveal in equal measure; while focusing on covering the face through a combination of hoods, drawstrings and balaclavas, the body becomes the more vulnerable and open aspect, with mesh and transparent fabrics showing the body underneath.











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