FASHION-able

To understand both fashion and alchemy we must relate these practices to a con-
cept in which they are both deeply entwined; the concept of myth. Fashion and
alchemy are both usually seen as unserious practices with neither the social value
of the fine arts nor the accuracy of the exact sciences. But myth is neither the op-
posite of science, nor is it a deception or untrue image of the world. Myths are the
powerful imaginative fabrics we weave our world with. Myth does not veil reality
but renders it visible, and just like fashion we live our lives inside it. It wraps the
world with a holistic threadwork; not fragmenting the world into atomized and
isolated data but weaving the narratives of the world into visible and tangible
shapes. Though generally regarded as shallow and ephemeral, fashion is one of the
strongest myths in contemporary society. Fashion can be regarded as another layer
of the world, relating to deeper transformations in the lived experience.

Alchemy is indeed similar to fashion in many ways. Alchemy is the practice of en-
gaging in the transmutation of matter and should not be misunderstood as a new
age revival of healing, mysticism and astrology. Instead it is the methodical search
for inner change symbolized by outer transformations. The medieval experiments
of turning lead into gold were mere symbolic acts of a larger task; turning the
blemished soul of original sin into higher spirit. Understanding alchemy as this
deeper journey can make us see how fashion can act as a symbol of inner change.

MerimetsanAlchemy was a project processing the hope of inner and social change
through highlighting a possible intersection of fashion and therapy. Alchemy has
always been a practice collecting curiosities, opening viable passages into the un-

A Circular Process of Change.

The idea with the projects at Merimetsa was

that there would be a circular flow between the

engaged institutions and participants, where

all would be committed to positive change. The

fashion students would engage in collaborative

creation with the clients and get experience and

their designs produced and sold. The reha-

bilitation centre would get attention and new

small collections to produce. The local fashion

Collaborative Creation: Workshop

Individual Production: Rehab Center

Alt er native Retail: L ocal Fashion

store would get new and interesting collections

produced locally. All would gain attention

and appreciation for the work. By using the

academy as a “motor”, every year a new group

of students would take on a new collection and

the wheel would be spinning. This circular proc-

ess would help the project to become sustainable

since all participants would want the project to

continue.