But when people inspire me, they become my muse.” “I don’t really call her my muse, because she is my friend too. When I saw her for the first time at CSM she was wearing a mask, so I couldn’t see her face, but I saw her long hair and the way she was talking and I thought ‘Oh, she has quite an attitude – I have to talk to her.’” Still, Mehmet has trouble calling Thea his muse. What drew me in about her was her attitude. “She is a strong woman, that’s why I am interested in her. Someone who has the ability to do that is his friend turned muse, Thea. “I can’t create for someone I don’t know, it’s not sustainable.” – Mehmet My reality is tougher, and that’s what I want to show in my work as well tell the story of my people.” “I can’t do a show where I have the models walk around like they are in a fairytale, because this is not my reality.
To him, a shared understanding of the world is essential, even for the models he chooses to wear his clothes. Both Mehmet and Neshat share a background of immigration, which directly flows into his work. When I meet someone that inspires me, that changes me, I can tell this person is my muse.” Although believing there are many muses, his main source of inspiration is the contemporary artist Shirin Neshat. To the MA graduate designer, who goes by the name Mehmet, the muse is the focal point everything revolves around. The lines between all of these ideas become blurry.
It was like family without the burden of a family.” A concept that is true for the more profound and successful designer-muse relationships: Lovers without sex, family without burden. “But the strange thing is, it wasn’t physical – it had nothing to do with that. “I’m not a family-minded person, and he was the only thing that gave a kind of sense to things,” Lagerfeld told Vanity Fair. While Lagerfeld lost interest in most of them, Jacques De Bascher, who died in 1989 at age of 37, was his amour absolu. The late Karl Lagerfeld promoted the careers of models such as Ines de la Fressange, Claudia Schiffer and Cara Delevigne. The notion prevails that the designer “makes” the muse. To consider the muse today, often there seems to be a bitter imbalance in power. A link that usually left the first overshadowed, anonymous or underestimated in their work. In “More Than A Muse”, author Katie McCabe explores this complex relationship between a muse and their often male counterpart. They roused the artist, awakened their senses, and made them dig deeper into their talent. The muses were seen as the root of artistic creation. Artists would ask the nine muses for help with their work, seeking inspiration and guidance. The muse as a symbol of inspiration dates back to classical Greek mythology, represented by nine sisters, daughters of Zeus and Mnemosyne, presiding over art and science. The duality between the creator and the subject doesn’t leave much room for speculation about their complicated relationship. Often set in our heads as a woman, young, and beautiful. But still, the muse is seen as an object. A narrative that prevails is that of the muse as an inexhaustible source of inspiration, an object of love and admiration.
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