ABOUT

ATTEMPT begins with a simple question: what can clothing become when it is considered not only as an object, but as a relationship between the body, structure and its surrounding conditions?

Clothing is often understood through categories that already exist: function and decoration, formal and casual, protection and exposure, masculine and feminine, finished and unfinished. These distinctions provide a useful language, but they can also define the limits of what a garment is expected to be. ATTEMPT works within these familiar structures while continuously testing where their boundaries begin to shift.

Rather than pursuing novelty as an end in itself, the design process often starts from something already known — a coat, a shirt, a pair of trousers, a uniform, a fastening system, or a conventional method of construction. These familiar forms are taken apart, displaced, layered or reconstructed. A seam may move away from its expected position. A functional component may become structural. Two recognizable garments may begin to occupy the same space. What initially appears to be a small intervention can gradually change the balance, movement and meaning of the whole object.

In this process, the body is not treated as a passive form that clothing simply covers. The body bends, stretches, moves, resists and occupies space. Fabric responds through weight, tension, compression and release. Construction determines where these forces accumulate and where they are allowed to disappear. A garment therefore becomes less like a fixed image and more like a temporary arrangement of forces.

This is also why incompleteness remains important to ATTEMPT. An object does not need to explain itself entirely at first sight. Certain structures may remain exposed; familiar elements may appear slightly displaced; proportions may resist immediate recognition. These conditions leave space between intention and interpretation. The garment is completed not only through design and production, but also through the way it is worn, moved in and understood by another person.

ATTEMPT does not approach design as a process of attaching a concept to an object after it has been made. Ideas are expected to exist inside the construction itself: in the placement of a cut, the resistance of a material, the relationship between layers, the way a garment opens and closes, or the distance it creates between fabric and body. Form and thought are therefore developed together.

At the same time, experimentation is not considered separate from function. Clothing remains something that has to enter everyday life. It must be touched, worn, repeated, damaged, cared for and eventually remembered. The challenge is not to choose between an experimental object and a wearable one, but to understand how unfamiliar propositions can continue to exist within familiar use.

The name ATTEMPT reflects this position. It describes no final state and claims no definitive answer. An attempt can succeed, fail, be revised or begin again. It allows design to remain a continuous investigation rather than a fixed conclusion.

For ATTEMPT, clothing exists within this unfinished condition — between familiarity and disruption, control and uncertainty, structure and movement. Each collection is not intended to resolve these relationships, but to reconsider them from another position.