Inez Carmen creates ceramic trophies from garments that no longer feel safe

From a public debate to a graduation project

The subject did not emerge by chance. 'In the summer of 2025, there was a lot of discussion about femicide and women’s safety. The public debate around these issues made me think of a garment that I never wear because I don’t feel safe in it. As I began researching this experience, I realised it required more attention and care to understand its complexity. Eventually, it grew into my graduation project.'

For Inez, the project has become about more than safety alone. 'It is also about how women navigate a capitalist and patriarchal system every day. And about how important it is that they continue to support one another.'

Nine women, nine stories about clothing and safety

As part of her research, Inez spoke with nine women. The conversations began with garments in which they felt comfortable, or uncomfortable. Before long, the discussions extended far beyond clothing.

'One of the women told me: I no longer own any garments that make me feel unsafe. The conversation that followed about the clothes that make you feel good, and why they do so, turned out to be just as interesting.” Gradually, her research broadened. 'It became more of a journey through a woman’s everyday life. Discovering your own sexuality, but also your sense of safety. Those things are always present.'

Ceramic garments as a form of reclaiming

Inez wanted to acknowledge the fear and uncertainty women can experience when wearing a particular garment. To do so, she created a ceramic version of each garment discussed in the interviews.

'I almost saw these objects as trophies. The ceramic works symbolise reclaiming something that became connected to a feeling of unsafety.'

Alongside the objects, she created a short film exploring the relationship between clothing and the body. 'I have always been fascinated by the tension between the flatness of a garment and the body behind it. In the film, you see life-sized cardboard versions of the garments from the interviews. In the background, a voice-over brings together the stories of the interviewees. In the end, those nine stories became one story.'

A master's programme where fashion goes beyond clothing

Before enrolling in the master's programme Critical Fashion Practices, Inez studied Fashion Design and worked in sales for two years. Although she trained as a fashion designer, she has always been interested in the bodily experience of fashion. 'During the master's programme, I discovered a different side of fashion. One that revolves around research, sociology, politics and social issues.'

The freedom within the programme also played an important role. 'Lecturers guide you, but they do not tell you what is right or wrong. Because of that, I have developed a much stronger personal signature. Whereas I used to focus mainly on making clothes, I am now graduating with a portfolio full of objects, installations and research.'

A love letter to womanhood

From 3 to 5 July, Inez will present her graduation project during Fray; Unpicking Fashion at Galla Studios in Amsterdam. 'I hope that when people see my graduation project, they feel something of the strength that emerges when women support one another. My work is a love letter to womanhood. I would love for women to feel that strength and that love, and to be inspired to support one another unconditionally.'