"The constructions I did together with Stephen [Jones] were inspired by FANTASTIC headdresses from Papua New Guinea, which are sometimes bigger than the length of [the wearers'] bodies," Walter wrote in an email.
Blogs including this one intially mistook the headdresses as Native American, an error which proves one of Walter's points: Western society still has a lot of work to do to in understanding other cultures. "I wanted to react to racism in general," he said. "I think that it is a big shame how countries (for example Russia) are dealing with this topic."
But isn't it ironic to convey this message in a collection full of Aboriginal and African prints, other versions of which have been criticized in recent debates over fashion and cultural appropriation? According to Walter, there's an ethical way to take inspiration from other cultures. "Throughout my career I was always fascinated by other ethnic cultures, tribes, and rituals. And I think that there is nothing wrong with being inspired by all these fantastic people all over the world. It all depends how you translate this inspiration into a new visual, contemporary, original language."
For instance, the crocodile motif in the collection––entitled "Crossed Crocodiles Growl"––takes its root in Africa, where "Crossed Crocodiles" are a symbol of democracy and freedom, according to Walter. "The whole collection is about freedom... I found it time that the crocodiles growl and show their teeth." Meanwhile, the army helmets the models wore, also created with Stephen Jones, reinforced the idea of soldiers "'fighting and showing their teeth' for freedom," Walter said.
Walter Van Beirendonck