Talent Talks: Bastiaan Reijnen

'Vót’tetèsj', which translates to ‘back pocket of a pair of trousers’, explores Bastiaan Reijnen’s Limburgian family heritage. Combining the essence in quality of workwear and handwork, the ArtEZ graduate creates a new luxury that lasts a lifetime.

Bastiaan Reijnen - Vót’tetèsj - Image by Team Peter Stigter

Could you please introduce yourself?

Hi, my name is Bastiaan Reijnen. I'm 24 years old and I'm honoured to say that I recently graduated from my BA Fashion-Design at ArtEZ University of the Arts. I'm originally from a small town called Thorn in the Middle of Limburg (South of the Netherlands). My family heritage finds its roots in this beautiful part of the country and has become one of my main inspirations for my collection.

Having graduated recently, how do you look back on your studies?

The past 4 years at ArtEZ have been tough yet enjoyable. I think that everyone at some point experiences breaking points during their fashion studies. Personally, I had a tough time dealing with the covid lockdown for my first 2 BA years. I enjoyed being in my own bubble, undisturbed. However, the lack of separation between school and not-school hours resulted in having a vicious, never-ending working cycle. I felt miserable and started creating more than ever before as a coping mechanism.

In this repetitive cycle I discovered my love for repetitive motions such as the Japanese repair technique ’sashiko’. Repetitive motions and patterns played a dominant role in my entire 2nd BA year. I think It was my way to try and find structure in these chaotic times. When I started my third year I noticed negative side effects of this circulair work rhythm. Thus I decided to do my internship at a Limburgian brand called Schepers Bosman. This was the best decision I could have made in regards to my personal development as a designer.

Through SB I gained insight on the workings of the industry, seeing the industry in a different light. Through this newly gained perspective I learned to live a healthier lifestyle/rhythm as a person working in the fashion industry whilst still achieving my own set goals. The industry I previously perceived as ’toxic’ suddenly became a playground of new opportunities and self-expression by shifting my focus away from trend based obsessions. With this positive, progressive mindset I then entered my graduation year and can now confidently say that I have never loved creating as much as I do right now.

Could you please tell us something about your graduation collection/project?

In my graduation project 'vót’tetèsj', which translates to ‘back pocket of a pair of trousers’, I explore my family’s Limburgian heritage. Giving a homage to where I come from. By combining the essence in quality of workwear (KL, army/ workwear manufacturer) and handwork, I create a new luxury that lasts a lifetime. The purpose of the collection is to show garmentes that deserve to exist forever and will not be discarded after a few wears, while still being artisanal.

I have challenged myself to be self-sustaining in the sense that I want to make everything myself. I went back to the basics, aiming to show Dutch craftship that really delivers quality. Even if the final garments are imperfect or wear out, there will be a sense of pride and joy in repairing them. These hand made qualities give life and character to the garments that can't be reproduced.

Which materials, techniques, programmes and/or applications are you mostly interested in?

I have a preference for secondhand fabrics, not only for the beautiful aging qualities such as fading and stains, but also quality wise. Unfortunately it has become harder and harder to find good quality fabrics for a reasonable price. Especially if you dont like blended fabrics. Therefore I mainly use vintage 'discarded' fabrics or deadstock materials.

The exhibition you are a part of looks into meaning of regeneration. What does regeneration mean to you and your work?

As for the regeneration aspect of the collection, I mainly work from archetypical garment studies. These garments are mostly from the Dutch workwear manufacturer KL textiel bv. I study and wear these garments to discover their functional features and focus on finding defects in their respective constructions. While hunting for these archetypes I have noticed that there is already an abundance of materials and knowledge lying around.

There is no real need for something ‘new’, the only thing we need is something better. I have found true joy in developing these modernised archetypes to the best of my ability. I then create these modernised classics from discarded fabrics. The goal is to expand the lifespan of all the material I work with.

How do you perceive the meaning and importance of community within the fashion field?

As young creatives we are nothing without a community. Nowadays fashion is all about relating to youth groups / scenes. The youth groups all have their own attire and create distinct uniforms for the community. Becoming the new Cruella shouldn’t be the goal when we approach fashion design. Fashion can not exist without a sense of community.

How do you view the future of fashion? And your own role therein?

I feel like the practice of fashion design is mainly focused on portraying unrealistic standards of supposed high-valued lifestyles. High fashion brands have opted to present an aesthetic and lifestyle which is so-called 'desirable'. Dismissing any moral standards in regards to issues of sustainability and inclusivity.

Most luxury brands buy into this idea of novelty, creating pieces that are “unique or one of a kind” and create thousands of the exact same garment, which, in my opinion, are branding-based consumerist obsessions. As a result, the quality of the piece does not matter compared to the status of the brand. Vót’tetèsj is about product development, craftship and creating longevity and love for the garments we make and own. It strives to show that investing in quality will give joy for a lifetime and not just a season.

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