T I M O

Z N D O R F

t i m o z u n d o r f . c o m
timo.zuendorf@googlemail.com

Three

men

ing

on

in

country

fine
road

suitin

the

beginning of the 20th century.Three

punks on a sidewalk in London in

the 1980s. BRINK reflects upon the

value of dressing and the interaction with clothing. What is the

impetus with which we dress today?
Is there a potential of actual
expression in the act of dressing
up? It is clothes that carry us from
the intimacy of our private spaces
into the turbulent outside. They
serve as the physical and emotional border between the private and

the public. Why do we decide to

hide or expose? Dress or undress?

The contrast between the rigorous

concept of classic menswear and the
savage quality of masculine culture
as depicted in Larry Clarks Kids or
Wolfgang Tillmans documentation of
gay party culture in the nineties.
Volumes informed by 19th century clergy and skater kids of
the 1990s; material suggesting
something
cultured/savage,
wild/restrained,
manual/digital are clashed and balanced.
Tailored menswear, experimental
knitwear and distorted photographic
imagery translated into silkscreen
prints build the framing for a translation into a context of garments.
The faces covered by white knit-0 1 1 0 1 1 1 0 1 1 0 0 1 1
ted Balaclavas beaded with bright
white LED lights, I am suggesting
a dehumanized Tribe of cultured
beasts in our digitalized age.
3RD

BA

TAXIDERMIE is based on the idea

of stepping into Nature as an
outsider; being absorbed into
its wild and exuberant character. The jungle as the invasive,
overgrowing structure is under
examination. Trying to be controlled,
shaped or preserved.
From abstract watercolors the
graphic base for the silhouettes was developed. Big sculpted shapes with a foundation in
classic tailored menswear, informed by safari uniforms, served
as canvases to control the experiment in color and material.
With a focus on handcraft, the
color story was translated into
knitwear, fabric manipulation,
painted and printed garments.
T A X I D E R M I EPreserving the spontaneous and
intuitive quality of my process
in the final result was crucial.
2RD

BA

Ivan The Teriible (1530-1584)

After the painting of Ilya
Repin (1885) - The Weight of
this historical Character in
Russian culture is Ambiguous. Hated and feard for his
brutal nature most famously
expressed in the angry killing of his son, and his violence in reigning, is opposed
by a love for the conqour
that first united the land
that we would today describe
as Russia. The first Tsar,
crowned with Napoleonic gesture finds different connoHISTORICAL
tations throughout history
and is over and over referencend in Russian culture
with altering connotations.

COSTUME
2RD

BA