WE HAVE DRAWN LINES IN THE SAND TAKES ITS TITLE FROM THE IDEA OF BOUNDARIES THAT APPEAR PERMANENT WHILE REMAINING INHERENTLY UNSTABLE. THE LINE BECOMES A METAPHOR FOR INSTITUTIONAL DIVISIONS, UNIFORMS AND SOCIAL CODES, BUT ALSO FOR THE POSSIBILITY OF CROSSING, ERASING AND REDRAWING THEM.

THE COLLECTION BRINGS TOGETHER PROTECTION, FUNCTION AND ESTABLISHED CODES WITH A YOUNGER IMPULSE TO QUESTION WHAT IS FIXED. MILITARY REFERENCES REMAIN, BUT THEIR AUTHORITY IS GRADUALLY DISMANTLED THROUGH CONCEALED CLOSURES, REDUCED CONSTRUCTION AND STRIPPED-BACK SURFACES.

THE BODY BECOMES CENTRAL: TAILORING LOSES ITS SLEEVES, TANK TOPS ARE CUT BACK, AND ARMS AND SHOULDERS ARE EXPOSED. GARMENTS ASSOCIATED WITH DISCIPLINE AND CONFORMITY BECOME MORE PERSONAL, IMPERFECT AND INSTINCTIVE. TECHNICAL FABRICS ARE REMOVED FROM THEIR EXPECTED CONTEXT, WHILE FRAYED EDGES, HANGING STRAPS AND EXPOSED CONSTRUCTION RECORD THE ACT OF ALTERATION ITSELF.

CONCEIVED AS A WARDROBE RATHER THAN A SEQUENCE OF FIXED LOOKS, THE PIECES ARE DESIGNED TO BE LAYERED, EXCHANGED AND RECOMBINED. ACCESSORIES SUCH AS A MOHAWK BEANIE AND REWORKED AVIATOR SUNGLASSES EXTEND THIS LANGUAGE, TURNING FAMILIAR CODES INTO SOMETHING PERSONAL AND NEWLY DEFINED.