Originally from Berlin, young designer Grete Moeller has proved that Romance is not dead. Each garment created by Grete is an art-work in itself, embodying true Romanticism. After studying Fashion Design in South Africa, she has flown the nest to London to begin her own brand. Grete explains her work is emotion-driven, encapsulating her own experiences of what it means to be vulnerable and a woman. For such reasoning, she chooses to work exclusively with non-cis, and non-straight male bodies. In this sense, she refuses to design what is commercially gendered as ‘masculine’.
Grete hopes through her clothing she can empower herself and others by breaking down patriarchal structures. She wants to free women and members of the LGBTQ+ community, who may feel threatened by these structures. This is why sexuality in modern society is a running theme through all of her designs. Creating one-off bespoke pieces from vintage and antique upholstery materials, Grete also ensures that her production methods are always ethical and responsible.
Grete’s desire to fight gender boundaries is explored deeper in this particular collection. Maze Runner confronts the problem of toxic masculinity. This editorial envelops an image, which is somewhat trapped between a fantasy world of emotion and a reality where non-binary bodies are made invisible. Grete believes that in society, such masculinity can become so toxic that it can often be presented as violence towards women and non-binary bodies. All in all, this collection epitomises our responsibility to fight gender boundaries and ultimately destroy patriarchal structures. These oppressive structures are what Grete pushes us to stand up against not just in fashion, but in everyday life.
Maddie Magner Sugarpuff
Having lived in many different countries, Grete expresses that she never really knew where home was or what ‘home’ even really meant. Captured in Cape Town, the Maddie Magner Sugarpuff editorial depicts this aching lost feeling and what it means to be homesick. When one moves to another place, they are quickly spun into many news experiences, places and people. “The vibrant colours are a celebration of a heart that feels a lot and that feels realness and meaningful depth”.
There are five different dresses layered upon one another, all made from silk organza. Grete highlights the fun in making such dresses, giving the model the feeling of being like a “giant sugar puff”.
My Dearest Porcelain Soul
This editorial captures three different dresses, which Grete has named after Christian Saints: Agnes, Maria and Magdalene. All of whom she claims have meaningful stories, which have been a huge inspiration to her. Taking inspiration from a dress she had made from her grandmothers vintage silk blanket, this collection for Grete is a very personal one.
When creating this collection last year, Grete disclosed that the combination of blanket dresses and corsets were a way to make her feel beautiful whilst struggling with Body Dysmorphia. “It was at the Kunsthalle Hamburg, that I was admiring the naked marble statues from ancient Greece. I was inspired by their purity and peace of mind, almost like a “desexualisation” of their bodies through the arts. I like thinking of femininity in that way rather than the preoccupied sexualised triggering version.” In this sense, My Dear Porcelain Soul focuses on the innocence of womanhood and reclaiming Feminity. Like all of Grete’s collections, there is a strong emphasis on Romanticism and desexualisation of the female form. Whilst wearing such garments, one transports back in time to a period of Regality, where women were empowered through their clothing.