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Oval shaped helmet, rather transparent in opacity. The quirky silhouette without the traditional white trousers. Particularly like the plastic buckle, holding the back in place. The additional extra of the foil and glove adds some coloured interest for me, personally.

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The netting, shape and structure of the masks. Baggy, oversized  fit of the overalls. The intricate details - BJ sherriff logo and pocket flaps.

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The triangular, pointed hood. Unusual use of denim as the fabric of choice for the habit (monk shown was wearing his 'working habit'). Heavy duty, leg warmer-esc socks and sandal combination. The oversized, yellow rubber gloves.

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The loose, heavy layering of the habit. Long, flowing rosary beads (Found the wooden ones to be especially beautiful!). The deep brown roped belt, only just hidden by the draped scapular. The smooth, weightless veil - almost resembling that of hair.

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Visually, I think that all of these uniforms have many areas of interest, overlap and contrast that attracted me to them -

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After evaluating all the uniforms, I decided to try settling on a common theme - protection.

I've tried to explore the physical qualities of the garments as well as their ties to this concept of protection. Fencers wear their uniform to protect them from opponents. Beekeepers wear their uniform to protect them from bee stings. Monks and Nuns wear their habits which gives way to religious protection (protection received from god).

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From the get go, I tried to only incorporate a small pool of uniforms that appealed to me - uniforms beyond convention and what would typically be expected was my main focus when selecting my subjects.


Growing up, Christianity was a prominent part of my upbringing. I attended Catholic school right next door to Greyfriars convent where I'd often see the nuns day to day - It has always fascinated me. The attire, the demeanour, the lifestyle - everything. While unconventional in a uniform sense, I decided that I wanted to intertwine this interest with an element of my project, leading to subtle catholic ties throughout my work.

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HABIT IN RELATION TO MOVEMENT - WALKING SHOTS TO SHOW THE FLOW OF THE FABRIC, ADDITIONAL DETAIL SHOT OF HABIT SANS MOVEMENT (SHOWS THE VISUAL TRANSFORMATION)

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ITEMS OF SIGNIFICANCE - APPLE AND ITS CONNECTION TO CHRISTIANITY, ROSARY BEADS AND THEIR IMPORTANCE IN PRAYERS

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CREASES OF FABRIC, CONTEMPORARY DESIGN IN RELATION TO LAYERING

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PRIMARY RESEARCH - SR. ANNA CHRISTI INTERVIEW

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TWO SUBJECTS, RELAXED POSE LEANING INTO ONE-ANOTHER

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TRIED TO REPLICATE THIS SPECIFIC PHOTO OF ARBUS' AS THE SUBJECTS' GARMENT HAS A SIMILAR SILHOUETTE

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Influenced by climate change - intertwining horror elements into the design,

60-75% of the garments shown were made out of preowned vintage clothing.

Dilara made use of technical techniques that are native to turkey to minimalise wastage.

Was influenced by Vivienne Westwood in relation to sustainability.

First time Findikoglu has explored a looser waist- normally used to cinched corsets.

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Collection inspired by Findikoglu's personal life - she analysed herself and split the outfits into two categories: Light Dilara & Dark Dilara.

Due to this, the collection was not restricted to a specific colour scheme or silhouette per say, but rather mood.

Some examples of garment names are as follows - Mother, Self Destruction, Borderline, Power, Insecurity and Future. Each of these names relate to the colour and material of the garments.

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Influenced by COVID - collection is more lighthearted than usual works of Findikoglu

Wanted to make a collection of clothing that brought people's minds off COVID- a safe space

Features bathing suits with lots of straps, high waists and predominently pastel tones (with the exception of the red - a reoccuring theme, as it's a favourite of Findikoglu).

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PRIMARY RESEARCH - SR. MARY GIANNA KLEIN & SR. ANGELA MARIE RUSSELL INTERVIEW

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PUTTING ON UNIFORM AND FOIL IN ACTION - IN A FIELD WHERE FENCING WOULD TRADITIONALLY TAKE PLACE

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DETAIL SHOTS OF LOGOS, BUCKLE, NECK PIECE, FOIL HANDLE AND GLOVE

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CONNECTING TO CONTEMPORARY FASHION DESIGNS, BOTH GARMENT AND FOIL (SWORD)

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CONNECTING FENCING TO FUTURISTIC FASHION - TESLA BOT AND THE IDEA OF ANDROID VISUALS

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TYING PRIMARY FENCING PHOTOGRAPHY TO CONTEMPORARY DESIGN - HISTORICAL FENCING GEAR WITH RELEVANCE TO THIS REITERATION OF THE FENCING UNIFROM

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CONTEMPORARY DESIGNS RELATING TO BEEKEEPERS

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RELATING DENIM WORK HABIT TO SIMILAR CONTEMPORARY DESIGN WITH A ROUGH FABRIC - EXPLORATION OF GLOVES WITH DESIGNS THAT REPLICATE MANIC MOVEMENT 

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SILHOUETTE IN RELATION TO MONK HABITS - GEOMETRIC HOOD/FACE - DETAIL SHOT OF CENSER (INCENSE BURNER)

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INVESTIGATING RELATED IMAGERY - ICONS AND STAINED GLASS, HABITS' FORM IN RELATION TO CONTEMPORARY DESIGN

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INVESTIGATING RELATED IMAGERY - CANDLE, CROSS, GATE 

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FOCUS ON DRAPE, FLEXIBILITY AND FORM OF VEIL

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ALSO INCORPORATED SATIN BOWS TO CINCH THE SHAPE IN MORE

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CHANGED POCKET FROM RECTANGULAR TO HEART SHAPED

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“Catherine Deneuve and David Bowie are 80s vampires in it. The opening scene is Peter Murphy performing Bela Lugosi’s Dead, it’s so amazing.”

-DILARA FINDIKOGLU

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Bauhaus - "Bela Lugosi's dead" - intro du film "The hunger" de Tony Scott

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 “I never listen to podcasts”

 “I feel like they limit my thinking process, which is a state I’m in 99 percent of the time.”

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Sana Neler Edeceğim by Ajda Pekkan (1975)

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Sana Neler Edeceğim by Ajda Pekkan (1975)

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"Listening to her makes me nostalgic about times I have never lived in"

- DILARA FINDIKOGLU

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Ajda Pekkan - AJDA - Sana Neler Edeceğim (1975)

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Turkish- British Fashion Designer

Born 1990, Istanbul, Turkey

Attended Central Saint Martins

Noted for creating a guerrilla fashion show for the Central Saint Martins students who were left out of the graduate press show

Started her London-based brand in 2015

Heavily influenced by Punk, metal, goth and Victorian visuals

Work is also informed by her 'traditional' upbringing

A lot of her work relates back to feminism, religion and politics

Was nominated for the LVMH prize in 2017

Has been a rising designer in the industry as she has received critical acclaim from the likes of Vogue, Dazed and I-D magazine

Some of her most noteworthy clients have been Lady Gaga, Bella Hadid and Madonna

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BUSY BACKGROUND, FACELESS SUBJECT, SINISTER ATMOSPHERE

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BACK SHOT WHILE ENGAGING IN STEREOTYPICAL ACTIVITY EXPECTED OF INDIVIDUALS  (SISTERS WERE SINGING HYMNS, TEENAGERS ON TECHNOLOGY)

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Throughout the entirety of my project, i found myself coming back to the same street fashion photographers for inspiration - Amy Arbus and Daido Moriyama.

The most prominent influence would be from Arbus' work. I tried to incorporate similar vertical backgrounds, stiff, face on positioning and the use of black of white filters to mirror her style. I also made sure to have two subjects maximum per photo, as I noticed that most of her work is limited to this many subjects.

In conjunction with this, I really liked Moriyama's quirk of photographing the back of heads - the sinister feel to his work was something I also tried to reflect in some of my work (mainly the fencing and monk) as a severe contrast to the serenity of the nuns.

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DILARA FINDIKOGLU