The Inherent Beauty of Impermanence

The Inherent Beauty of Impermanence; an act of fossilising the self. The body becomes absent and all that is left is the essence that once filled it. Left within the mind are the memories that fade and change over time. Even in death, we remain, we evolve; our essence weathered and worn.

This evolution that a memory undergoes is emulated through the transition between the materials. From the intricacies of the fine laced knit that explores the complex essence that is left behind, to the less detailed nature of felting that obscures those moments that were once so clear. Techniques become blurred and entwined with one another, as does one’s recollection.

The fossil itself is the body, this thing that is no longer there. This impermanence is inherently our own, something that we cannot shake. The silhouettes obscure the body to remind us of this very truth; this thing that carries us through life is the least permanent part of it all.

The fine lace knit of this silhouette is full of the intricacies that once belonged to the body within. The tucked lace pattern mimics the imprints left by fossils on a much smaller scale, and highlights the intricacies of such a life that once left the imprint. Suspending this, in time as it were, with the starched technique conveys the fullness of the essence, fully intact. This is the beginning of the story, before the memories fade and the essence is forgotten.

This silhouette begins to explore the formation of the fossil. The sheer knit exposes the body as felted pieces grow along the hem, reminding us of the impermanence it holds. The felt covering the body evokes the sense of a memory coming undone; its organic nature represents the change that happens and the essence that is lost over time.

This silhouette explores the amalgamation of multiple techniques within the one silhouette; the memory becomes distorted, and the materials entwine with one another. The skirt is this hardened shell, much like a fossil, holding the body within. The essence still remains, however, memories are no longer intact, details are missing, and much remains unclear. The knit itself has become thicker, moving from the thin thread to a more organic hand-spun yarn.

Structured felt moulds to the body in this silhouette, inspired by fossilised indentations. The body becomes the fossil, and the felt is draped to create folds that evoke the body beneath; leaving this hollow empty space, holding the essence that once was so intricate, now with details lost. Hand-spun yarn hangs from the felt, an enlarged version of the once fine and intricate knit.

This collection highlights sustainable practices and slow craftsmanship, values that are constantly at the forefront of Cassandra Steele’s work. Her curiosity for material practices has led Cassandra to explore knitting, spinning, felting, and starching within this collection. Sourcing material for these techniques is an important part of the process; these silhouettes, in particular, feature wool from a local Australian mill, alongside second-hand yarn and thread. Sustainable sourcing extends to the equipment that is needed to make these textiles, which includes a second-hand spinning wheel and knitting machine from The Nest Haberdashery.

Models: Pinta Kearns, Ruby Hussey, Hannan Mesmar, Faith Quach, Stevie Moore