Bourlanges had many sources of inspiration to draw from, including the work of writer-biologist Midas Dekkers (quotable quote: “Decay is indestructible. So it’s not a product of time, but a measure of it.”), Belgian designer Martin Margiela, the symbiotic relationship between crumbling architectural forms and the forces of nature that overwhelm them, patterns of cellular growth and decay, even a threadbare teddy bear that belongs to her niece.
Decay” demonstrates a key principle of the slow-design movement: reflective consumption.
To capture the natural movements of the body over time, Bourlanges donned a special suit composed of a carbon-paper sheath layered over a plain white blouse. The carbon pigment registered every press, bend, rub, scratch, and stretch, creating imprints she then converted into patterns.
As an acolyte of slow textiles, Bourlanges appreciates the narrative quality intrinsic to fabric. “Decay” demonstrates a key principle of the slow-design movement: reflective consumption. “The traces [the sweaters] carry express a past enigma that can’t absolutely be solved,” she adds.