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THOUGHTS
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SEDUCED BY CLASSICAL EUROPE AND AN EARTHLY FASCINATION WITH WOMEN, CANADIAN-BORN DESIGNER NICOLAS ANDREAS TARALIS
EMBODIES A POSTMODERN INTERSECTION OF AESTHETIC AND UTILITY, INCITING CATHARSIS THROUGH CLOTH.
TARALIS’ GREEK AND GERMAN BLOODLINES INCITE DISCORD AND SO ENTERS THE HUMAN ELEMENT — A FRONTIER OF PASSION VS. PRECISION THAT DRIVES STARK CONTRAST.
IN AN IMPENITENT ODE TO THE BOHEMIAN, HIS GARMENTS FOR WOMEN AND MEN ARE THE PRODUCT OF AN EMOTIONAL STATE AND A QUIET HERALD TO KINDRED SPIRITS.
NOTIONS OF ARCHITECTURE ARE AWAKENED UNDER HIS TAILOR’S EYE, FORCING BALANCE AMIDST SENSUALITY AND RIGOR.
FORMALITY IS UNDONE AND SOFTNESS MINGLES WITH MEMORY, AS LINES BREAK AND FLOW IN SPONTANEOUS MOMENTS OF JOY AND MELANCHOLY.
STRUCTURES BUILT AT THE SHOULDER DISAPPEAR IN ROMANTIC ABANDON.
QUESTIONING THE TRADITIONAL FRAME, ARCHETYPES OF WOMAN AND MAN ARE ENTWINED WITH FRAGILITY AND STRENGTH,
THE EDGES OF THEIR CONVERGENCE AN EVOLVING DIALOGUE BETWEEN MASCULINITY AND THE SACRED FEMININE.
GARMENTS ARE AT ONCE RAW AND PRECIOUS, THE UTOPIAN BEAUTY OF FINE CLOTH MARRED BY DECAY (ITS DYSTOPIAN EQUAL).
HUMBLE MATERIALS (LINEN, WOOL, POPLIN, DENIM) MINGLE WITH MAJESTIC TEXTURES (SILK, CALFSKIN, BRITISH TWEED, TECHNICAL FIBRES) IN INDEFINITE HARMONY.
LIGHT TRUMPS DARKNESS LIKE BRIGHT FLARES AGAINST MIDNIGHT. METAL IS A DULL SHINE IN THE DARK.
DAN THAWLEY
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