KAREN VAN DE KRAATS for ANTOINE PETERS
Karen van de Kraats’ Amsterdam-based practice follows a predetermined process, dictated by the content. While she does not exclude moments of spontaneous inspiration, her unerring clarity provides a disciplined framework in which to operate. Her systematic decision-making requires complete objectivity: she subscribes to the mantra, “Kill your darlings”. This form of creative ruthlessness ensures her work remains relevant to the content and is not influenced by outside trends.
She begins with a brief and detailed discussion with the client, which leads to thorough research to provide references and inspiration. Conceptual links between the results are then formed in the search for an underlying story for the project through form, colour, typefaces and layout. Sketching out these initial concepts clearly indicates their potential success or failure. Ultimately van de Kraats is searching for a solution where “everything is connected with everything else and tells one story. If you cannot explain the concept in a simple way, the concept won’t work.”
While van de Kraats remains independent, regular collaboration with other creatives is vital to her practice. She acknowledges the necessity for critique, both from clients and contemporaries, to ensure she maximizes the potential of a project and does not lose her perspective on the end product. To avoid alienating the broader audience by overintellectualizing her work, she strives for the clarity required for effective communication. This does not limit her creativity; rather she is able to create a balance of work that is respected by the design community and by the general public.
Stretching back to 2000, the romantic relationship between van de Kraats and Antoine Peters naturally extended into a professional partnership in 2005. While they are fiercely independent within their respective fields, van de Kraats admits, “For us it is obvious that we work together, we don’t know it any other way.” The instinctive nature of their relationship provides a unique form of fluidity on which they thrive. While adhering to distinct roles, they are able to build a collective ownership that is undoubtedly advantageous to the end result. Their ability to minimize the pressure of balancing a personal and professional life is a tribute to the strength of their relationship.
On the surface, Peters is on the somewhat playful side of the fashion industry, yet through biting juxtaposition his designs offer sharp social relevance. While he develops the concept of a collection and contributes to the art direction, van de Kraats interprets his ideas and refines the graphics into their final state. Rather than working in isolation, Peters and van de Kraats work closely during the development of all visual material. Their goal is to create an end product where graphic design and fashion achieve a “total whole” or “one world where optimism, comfort and elegance meet”.
Past experience informs van de Kraats’ decisions and builds a deeper understanding of her clients’ requirements. “As a designer, if you are not happy with the result, the process can teach you a lot about yourself and your client. Maybe next time you will deal with it differently.” Her self-awareness and desire for personal development underline her resolve to renew her process with each new project.
For van de Kraats, success is the development of an original solution, something that is particularly valuable within the visually saturated fashion industry. She believes fashion offers increased creative freedom because of a shared ambition to get the best out of each new project. Creative tension is the catalyst for progress as each party brings unique expertise and priorities to a design. Her strength lies in navigating the possibilities these provide, building on them and shaping them into a direct, unified message.
“The Autumn/Winter 2009/10 ‘I’m with stupid’ entrance card was based on one of the collection prints. This invite could be ironed onto your clothes and you could actually ‘wear’ the invite! This way the visitor was already becoming an active part of the show days before. The actual invite with info about time and place had additional washing and ironing instructions.”
“This invitation was for the ‘One…’ exhibition for Autumn Winter 2007/08 featuring the most recent results of the ‘A Sweater for the World’ project. Two different photographs were put together to emphasize the purpose of the project in bringing people together from different walks of life.
“For the Autumn/Winter 2008/09 ‘Fat People are Harder to Kidnap’ collection the invite was a ransom letter in which the recipient was ‘politely threatened’ to come to the show, OR ELSE! This was also integrated into the collection print. The Spring/Summer 2008 ‘Le Petit Antoine’ collection played on the idea of clothes that you’ve grown out of. This came from the fact that this was Antoine’s very first big fashion show and dealt with the battle of staying young at heart. Most recently the Spring/Summer 2010 ‘Turn your Frown Upside Down’ collection….”