Fashion is much more than just garments—it’s a rich, multifaceted phenomenon. It’s a cultural system, a form of communication, an economic force, and a creative language. What sets it apart from most artistic disciplines, however, is its community-orientated, collaborative ethos. The FashionClash Festival knows this well, which is why its 17th edition once again brought together art directors, writers, filmmakers, performers, designers, and even researchers for three days of inspiring, captivating events to demonstrate the true power of fashion: building an artistic collective.
Most importantly, the Maastricht–based festival gives artists what we so often forget is the most important: a voice and a space to communicate. Talent can be found everywhere—not only in Paris, London, Milan, or New York, as we are often led to believe—but opportunities are not. That’s why events like the Fashionclash Festival should be applauded and cherished, as they showcase the richness of creativity beyond the usual fashion capitals while celebrating the bold, diverse visions that might otherwise go unseen.
On a—thankfully—not-so-cold Friday evening, we first immersed ourselves in this thrilling edition of the festival at Bureau Europa, with the opening of the New Fashion Narratives exhibition. As its name suggested, the exhibition questioned conventional fashion narratives and invited audiences into a wider dialogue about social concerns. It was, indeed, a strong and stylish start to the festival: four talented fashion makers —Jonas Zitter, Paula Dischinger, Rafael Kouto, and Tjerre Lucas Bijker, who had previously collaborated during a residency week in Maastricht— curated an exhibition focused on collective action and the intersection of fashion, activism, and community-based practices.
At first, it felt like an information overload; then, after looking more closely, everything made sense. The entire exhibition emphasized questioning the industry’s current landscape, co-creation, and community involvement: from projects like Alessandro Santi & Brankica Sanadrovic’s The Memory of Skin, which highlighted the “interdependence between microbial cultures and human relationships”, to others like mare mito’s A Sewing Machine of One’s Own, which celebrated garments passed down through generations and created with women from a social sewing workshop in Naples.
CIMO from Croatia presented more than a hundred embroidered pieces made in therapeutic workshops with asylum seekers, refugees, and elderly locals, showcasing the often overlooked work of women’s handcrafts. Other standout works included interactive pieces that challenged traditional fashion systems, such as Hannah Smith’s The Gentle Frame, which explored disability through wearable art. The whole exhibition was a resonant proof that fashion can be a powerful tool for community building, memory preservation, and imagining alternative futures.
Then, it was, you guessed it, dinner time! So we headed to our next stop: Lumière Cinema. This alluring cultural gem of the city is housed in a beautiful historical building that was originally a textile factory, now repurposed as a restaurant and, most importantly, a cinema for independent and arthouse films. In this cozy venue, we enjoyed not only dinner, but also one of the most memorable events of the festival: the Fashion Film Program Award showcase, which revealed the six finalists. A truly insightful showcase, we dare say. Defying all expectations of what a “fashion film” might be, these short movies included, yes, fashion, but this was never the main focus. Instead, they explored broader stories, ideas, and emotions, with garments serving as co-stars, or even as a lens through which the narrative unfolded—never the main character.
The Feminine Urge, directed by Lilian Brade, Phuong An Phi, and Niclas Hasemann, received the Kaltblut Magazine Award. The film powerfully explored female rage and the monstrous feminine, presenting it as not only a visual but also a physical experience. Intense, dramatic, and sometimes too gut-wrenching (as the female experience can be), the film delivered—fashion included. On the other hand, the Fashionclash Festival 2025 Fashion Film Award went to Do I? Salt Murphy Fashion Film, directed by James Nolan. Set against the symbolic backdrop of a wedding day, the film explored modern love, balancing the longing for stability with the dopamine that uncertainty can bring, all brought to life through stunning couture bridal gowns, and with a cast that seemed sculpted by the gods themselves.
As for our favourites? We dare say Motherfocking Art by Marloes IJpelaar / Club Lam, which also received an honorary mention from the jury. As the title suggests, it was campy, bucolic, and fairly funny (I admit I giggled, which is almost the highest compliment possible nowadays), offering a sharp critique of beauty standards in the fashion industry. Hangman & CO. by Birsu Tamer, Hedzer Seffinga, and Matti Paffen of the two short movies produced by Fashionclash Festival—also deserves a mention: a critique of the loss of analogue labour in a fast-paced, online world, told through the story of a recently retired house painter lost without his old, paint-stained uniform.
To close the evening, we headed to the Social Hub Maastricht for the Essence showcase. Curated by Marlon Claessen, it featured a vibrant fashion show with designers from Brazil, including Kistaku's Carrousel and Thear's Ánima, among others. We had to bid farewell to the infectious energy of Brazilian funk, but no worries; the Fashionclash Festival was back in full swing the next morning.
We kicked off a pleasantly warm—again, thankfully!—Saturday with a visit that reminded us of a side of fashion that’s often overlooked but incredibly important: scientific research. The Future Materials Bank once again opened our eyes: fashion is undeniably beautiful and powerful, but what about its impact on the environment? This isn’t a critique; it’s an invitation to explore more ecologically conscious practices in art and design.
Collecting samples and information from makers around the globe, the Future Materials Bank is a treasure trove of inspiration and knowledge about sustainable materials. You might be surprised: from human hair spun into yarn to paints made from avocado, the collection raises questions about how many materials could be repurposed as valuable resources.
A seamless fusion of art and science, the project is part of the Jan van Eyck Academie, which examines the role of creative practices in addressing the climate crisis, environmental breakdown, and their far-reaching effects. The programme also provides residencies for artists, designers, writers, curators, and architects from around the world, giving each participant the time, space, and support necessary to fully develop their creative practice.
In the Jan van Eyck building, we were invited to experience a series of installations and performances presented by the Amarte Fund, offering fashion designers the chance to collaborate with other artists in creating and presenting new works. Natálie Kulina × Alyne Li unveiled Numina, a performative installation that immersed visitors in an unfamiliar world. The artists greeted the audience with a striking set, a sculptural gown, and a captivating performance—while also prompting reflection with questions like, “Should our worlds remain separate, sacred, and untouched, or should we seek a common language? Do we give in to curiosity? How entitled do we feel to others’ spaces, cultures, and traditions?”
Before heading to the next event, we wandered through Maastricht, while discovering fashion in all its forms—exhibitions, installations, and workshops—spread across various spots throughout the city. From a charming selection of independent fashion publications at Limestone Books, to an art exhibition featuring a remarkable selection of archive pieces at S.A.C, the city was a lively reminder of art and fashion in everyday life.
Later that evening, we boarded a boat to make a stylish trip along the river toward the location of the main event: The Clash House. Held in a striking, massive industrial building—the Peutz Hall at the ENCI site in Maastricht—the event served as a platform for six designers: Ultra Ora, Rakee Chen, Thibault Villard & Maxence Guenin, POViS, Emirhakin × David Siepman, and Clashlab—Lioba Benold, Shu Jantje & Jelle Huizinga—to join forces with performers and develop alternative ways to present fashion. Across the six performances, one thing was undeniably present: a heavy feeling, almost like a muted critique of society.
With Après Nous, Ultra Ora explored hierarchical structures and social classes through a storytelling lens. Rakee Chen blended music-generated garments and movement in Melody Atlas to guide us through human life as an emotional journey. Thibault Villard & Maxence Guenin examined imperfection by presenting a poem through sound—generated by playing a bass with a strip of fabric. POViS delivered a powerful performance critiquing today’s society, its fast-paced rhythm full of stimuli, and the depression some people face when trying to carve their own path while still yearning for traditional social validation. The performance concluded with a simple, yet very accurate statement: “I hid from depression and corporate capitalism and made a collection about cats.” And we felt that.
Emirhakin × David Siepman performed a choreography that felt like a sensory exploration of memory, desire, and the refusal of closure, and Clashlab offered a performance merging three disciplines: fashion, dance, and music. The whole event provided a much-needed space for artists to co-create, grow, and share their own vision and voice—a reminder that fashion can be presented in a myriad of ways while still keeping its message intact.
In just three days, the FashionClash Festival reaffirmed once again that fashion is not just clothing but a platform for experimentation, dialogue, and storytelling. By stepping away from conventional runway formats and embracing immersive performances, installations, and collaborations, it opened a space where creativity could flourish freely.