Does textile matters?

Halo Labels focuses on understanding the meaning of textile as  a man-made, essential matter that is as primal for humans as cooking, housing, cultivation and communication. We try to understand fabrics on the emotional level as a kind of soft memory carrier rather and not focus on their protective and decorative function. People form an unconscious bond with their clothes – the material objects they wear. Not because of what they cost or their aesthetics but because that piece of soft fiber triggers emotions and evokes memories. We often don't realize how many feelings we associate with a piece of clothing and how much comfort having our body covered with fabric brings, be it a sense of security or relief. For Halo Labels designer Ala Sowiar feeling good in our clothes, learning how to take care of the body and the surroundings we occupy, is directly linked to the awareness. In the precarious chaotic reality where humans forget how to just be, and how to tune into their pure self, Halo Labels offers clothes that affirms freedom and pleasure of well-being. We understand the matter in a non-dualistic way, similarly to the teachings of eastern philosophies that say that the divine and the physical are identical. We foster attitudes of freedom, detachment, and aesthetic playfulness in relation to material existence, which are conducive to artistic creativity and the refinement of taste.

Clothes are the most direct non-biological matter our bodies come in contact with every day. Made of natural or synthetic fibers, their main purpose has not changed thought the centuries, unlike their constantly evolving form. As Alan Watts once said: "Wearing clothes is a gesture which implies the unadmitted knowledge that our personalities are put on." A garment is therefore not only a cover layer but it is also a means of expressing our individualism and the need of creation. Once freed from its monetary value and trends, fashion becomes a realm of freedom. Design and handcraft theorist David Pye said: "Characteristics of materials are objective and measurable. They are on the outside. Quality, on the other hand, are subjective, are in our heads. They are our points of view, part of a personal mindset that every artist carries within himself. Each of us has his view on what it is stoniness."  Textiles and clothes are variations of the matter. As designers we shape materials thereby depriving them of their measurable characteristics. 

Halo Labels treats textiles as a soft matter. For us the texture is the essence of the material, stimulating our eyes and touch, again buliding the feeling for as a memory carrier. Our clothes often refer to the forms of nature, through the shapes or the structure of the textile itself. Our everyday wardrobe is showcased in annual, non-seasonal collections complimented by three permanent clothing lines: GAUZE SHIRTS (uses medical pure cotton for greater softness, sheer and respiration), PARACHUTE (uses octagonal and hexagonal forms found in crystals and honeycombs, as basic units for the garment's final cut) and THING TO WEAR (line inspired by timeless traditional cuts, easy to wear garments).


Textile as new media.

Living in the information age, shredded, nonlinear reality of the internet, we are building our  experience towards work of art or design on associations and slogans rather than on solid content - allegories.  The contemporary fashion, as a part of culture  fits into this tendency,  that engages the wearer = spectator  to create their own semantic fields and to select messages, in order to build their own personal experience.  For Ala Sowiar who previously was occuppied with textile art and new media during her art studies in Poznan and Berlin, the fabric as the system of interconnected fibers-elements, can be associated with such terms as: network, link, web. It's structure is considered nonlinear, like the way of thinking, based on the principle of hyperlinks and selection. As the neurophysiologist Charles Sherrington said, "The brain is like an enchanted weaving loom where millions of neurons, weave a pattern full of sense, but never solid one".  Not by coincidence the fabric and electronic media have more in common than they might seem at first. Their story coincided in 1805 with the invention of an automated "jacquard loom", which principle was a prototype for the computer operating systems, and therefore the digital technologies. The programming was done with perforated cards in such a way that individual holes programmed hooks to choose the thread of the right color. It was possible to create complex patterns up to 1,400 tones, with an extremely high resolution. This term is not accidental, because the digital image and the fabric share a similar code. The weft and warp junction in the fabric may be aligned with the pixel, a mosaic of crossed points. The structure of the physical matter that is the fabric corresponds to the digital image. The nature of both of these media is flexible, unstable and transparent, as is the nature of liquid modernity described by Zygmunt Bauman. Textile are plastic substance with an organized texture of interwoven elements. We believe that the elusive and resistant nature of textile will inspire inventions of new materials and technologies in the future.