Through the tinted glass

By Kyaw Min Htet

This series finds its inspiration in the fashion of Burmese women during the 1940s when they began to incorporate Western-style clothing. During this period, they faced public criticism and were labelled unpatriotic, in contrast to men who were praised for the same choices. The historical context of this critical period in Burmese fashion greatly influenced my approach to this project.In this series, I integrated two key themes of surrealism: trompe l'oeil (tricking the eye) and displacement. The surrealist fashion house, Schiaparelli, was a significant influence on this work.

The original tropical greenery and scenic backdrops seen in archival photographs have been transformed into a miniature landscape enclosed within a wooden shrine . Wrinkles and creases typically found in old photographs have expanded to become entire backgrounds. Insects and aquatic creatures have been reimagined as costume jewellery, extending the theme of displacement. The iconic Mao suit has been reinvented as a jacket embellished with brass bells, and Bagan or Pathein umbrellas ,constantly seen in recreations of old burmese portraits, have been replaced with a functional Shan paper umbrella made by artisans with a 150-year-old legacy.

Many of the garments featured in this series are surviving pieces from my great-grandmother's wardrobe. Upcycled broken mirror pieces, some shaped into flowers, have been incorporated as embroidery,trompe l'oeil accessories, or even as polka dots on a black jacket . Broken glass ornaments and orbs sourced from a local glass artisan have been repurposed as jewellery. Some of the necklaces and roses appear to levitate around the person, symbolising that they are not bound by gravity rather than merely existing within a fantasy.