Luca Hamers' Design Philosophy: A Functional Otherworld Woven from Sci-Fi & Creatures

Dutch-born fashion designer Luca Hamers creates clothing inspired by science fiction and creatures, blending functionality with an otherworldly aesthetic.

In this article, we delve into the source of his creativity, his uncompromising design philosophy, and the ideas embedded in his work through an in-depth interview.

Design that Doesn’t Start with Clothes: Examining His Source of Creativity Woven from Sci-Fi & Creatures

The recurring "creature" and otherworldly elements in your work—how are they reflected in your designs?

The "creature" theme comes from my childhood immersion in otaku culture. I spent a lot of time alone as a child and was deeply absorbed in the worlds of manga, anime, and games.

Later, while studying at Central Saint Martins in London, one of the world's most prestigious fashion schools, a tutor told me, "Don't look at clothes. Bring a perspective to your design that only you can have." For a month, I was forbidden from making any clothes.

During that time, I was instructed to simply draw and explore my own worldview. From this, my original method of "building a vision through creatures" was born. To this day, my sketchbooks are filled with creatures, and their lines and forms are reflected in the silhouettes of my garments, creating unique, three-dimensional shapes. I believe that by not starting the design process with the clothes themselves, I've been able to maintain a unique approach.

My grandfather, who worked as a futurist for the Dutch government, was also a significant influence. He showed me many sci-fi films from a young age, which strengthened my desire to create "clothes that look futuristic but not like costumes." I strive for a balance where the designs are sci-fi-esque but still wearable in reality.

A Singular Vision: The Pursuit of Precision and Creative Purity

What led you to establish your own studio, and how did your graduate collection, "Shadow On The Road," influence that decision?

While working on my graduate collection, "Shadow On The Road," my tutors gave me a lot of advice, but I decided to stick to my convictions. For example, when they suggested I use a variety of colors, I made an excuse that the fabric delivery was delayed and kept everything black.

If I had changed direction even by 10% due to someone else's influence, I wouldn't have known if the collection's success was truly my own achievement. I wanted to see how people would react when I presented something that was 100% my own vision.

As it turned out, the graduate collection received a tremendous response, which became the catalyst for starting my own company. I was featured in Dutch newspapers and many magazines, and I thought, "Should I ride this momentum and forge my own path, or should I use this attention to find a job?"

In the end, I realized that I could find a job later, but it was more exciting to live a life focused on what I wanted to express. Looking back, it was the best decision I ever made. Nothing has given me more confidence, success, and happiness than running my own company.

Before going independent, you gained experience working under renowned designers like Daniel W. Fletcher, Liam Hodges, and Aitor Throup. What did you take from these experiences?

My time at the first two brands was about getting my foot in the door of the fashion industry and learning how it works. Of course, I respected the designers, but my style was very different from theirs, so I always felt like a "close outsider."

On the other hand, Aitor Throup was someone I had admired since I was 16. He is a pioneer who established the "technical fashion" genre. He is to be one of the most meticulous designers in the world, where everything is measured down to the half-millimeter.

In that demanding yet wonderful environment, I learned to impose an extremely high standard of quality on myself. It was an experience that made me keenly aware that we are all standing on the shoulders of giants who paved the way before us.

Regarding your design process, which step do you focus on the most?

Everything starts with a pencil. That is the most important thing. I believe that drawing is the most crucial part. Design should come from within; if you're only creating from reference materials, your work will lack depth.

I'll start drawing something no matter what, and I generally don't need much input from others. If a team member designs something wonderful, I tell them, "You should make that." Everything I create must begin from my own hand.

Functionality is the Backbone: Products that Fuse the Highest Quality Materials & Technology

Your clothes feature innovative materials and functions like magnetic zippers and modular designs. What are your criteria for selecting materials, and how do you balance beauty and practicality?

Ever since I was a student, I've wanted to master form, so I made everything in black. It's much harder to captivate with muted materials than to attract attention with a flashy fabric. I believe it's important to treat clothing as sculpture.

When it comes to materials, "if the clothes are the creature, functionality is the backbone." Without the backbone, the whole thing falls apart. That's why I don't use low-quality materials. The use of magnetic zippers is partly influenced by sci-fi, but it's also a way to show a level of dedication not seen elsewhere by incorporating future-oriented components.

Some parts are sourced from Switzerland or from the same suppliers used by the British military. By consolidating the best from around the world into a single product, a unique value proposition is created.

For example, in my first two seasons, I used Ventile, a waterproof material used by British special forces during World War II.

The fact that it's a military-grade material means it is of high quality and durable. We present that to people as functionality.

Recently, I've also been re-evaluating the appeal of craftsmanship. When I worked with traditional japanese textiles I was moved by the poetic beauty of a material that existed long before I was born and will likely continue to exist long after I'm gone. I'm exploring a hybrid of such traditional materials with technical ones.

Wearing Identity: A World that Resonates & Expands with the Wearer

Masks and veils frequently appear in your work. What is their significance?

A quote from a mask-making artist I know has stuck with me: "A mask is the smallest private space that can be created by human hands." I was also influenced by Akiko Busch's book, “How to Disappear.”

I feel that by concealing one's identity, the relationship with the clothing become more introspective. When you wear something where no one can see you, the only thing that matters is whether you truly like it. The true feeling that emerges when the gaze of others is completely eliminated—that is the theme I embed in my masks and veils.

What feeling do you want people to have when they wear your clothes?

I always wear my own designs, and there's a sense of wearing something greater than "who I am." It's an otherworldly experience in a way.

On the other hand, it's fascinating to see customers style my pieces in ways completely different from my own intentions. As a designer, you can't and shouldn't completely control how your creations are worn.

Finally, could you tell us about the future vision for your brand?

We are currently stocked in famous shops around the world, but we will continue to carefully select collaborators, limiting them to those who "understand our worldview."

I also want to engage more directly with customers in the future and am currently building a new website. It will provide details about materials and their backgrounds.

Furthermore, I want to actively take on creative direction and projects for other brands and artists.

Luca Hamers gives form to his inner world without compromise. His creations fuse functionality with poetic beauty, heading towards a new frontier. Experience his unique and ever-expanding worldview through his official website and future projects.