[A]lexander McQueen constantly challenged the boundaries of fashion to create conceptual work that reflected on his sense of self. Now supported by his foundation and an artist-in-residence at the Sarabande studios, Esna Su’s work continues this tradition. The jewellery and accessories designer draws on her own unique history and the contemporary plight of her homeland, to create wearable sculptures imbued with a deep sense of meaning.
Born in the south of Turkey, Esna’s collection ‘The Refugee and the Burden’ explores the displacement of Syrian refugees following the war, and the concept of memory and belonging in a fractured world.
Using traditional Syrian techniques – the collection consists of two parts. The first part created using paper rush, represents the need for protection and isolation of refugees in their new homes. The sculpture is designed to give the wearer a warm, therapeutic feeling. The second part – the Burden Bag collection reflects the belongings the refugees have had to leave behind in their homeland, incorporating sentimental objects in the designs themselves.
The resulting pieces are haunting and beautiful, a fitting tribute to the forgotten people at the centre of the crisis.
We recently visited Esna in her studio to talk about her unique creations, preserving memory, and the legacy of Lee Alexander McQueen.

With the current displacement in the Middle East are the skills you use at risk of being lost?
Unfortunately, they are. One of the skills I used is a traditional carpet making technique and the Arabic carpet named “hasir” which involves constant weaving. There were only a few people who kept on doing this beautiful craft. Thinking about it now, the North of Syria is completely destroyed and people who made a living out of this skill had to flee in order to secure their lives. So the craftsmanship was left behind as the refugees mostly migrated to big cities, in Turkey for example where they can earn money in a quicker way.
What is the traditional purpose of the craft and how have you adapted it for art and fashion?
The purpose of the craft was once to make a carpet for a daily use but I wanted to push the boundaries of this tradition in order to express how refugees need confinement and protection in isolated refugee camps and in areas they are not familiar with. By creating sculptural body pieces with wild looking carpet fringes I wanted the ‘hasir’ technique to embrace displaced people by giving a shape of a nest mirroring security.

Which contemporary influences do you incorporate into your work?
I don’t only focus on designers in my own field of jewelry design, but also look into other areas as I am fascinated by exploring a variety of fields. For instance, Hussein Chalayan’s designs, in particular, influence my work as I really like the way cultural aspects and the structure of his designs merge together. I also like the way culture is represented in Lin Chung’s work with Papaver Argantum. I was inspired by her use of moulding the effect of the bullets on the wall of the V&A museum during WWII, representing war wounds.
How do you hope for the wearable sculptures to be styled? How do you see them incorporated into editorial?
I see my pieces suitable to being presented on torn fabrics, which represents the way refugees are broken apart and separated from the belongings. The Burden pieces, in my eyes, interact best on the naked body, to represent birth and hope of new life, despite destruction and loss.

How did you find out about the Alexander McQueen foundation and Sarabande studio?
Caroline Broadhead who is the head of (BA) Jewelry Design department at Central St. Martin’s had put up an advert on Facebook, promoting Sarabande. At the time that I saw the advert, I was already looking for a space and I think I was very lucky that I was given a chance to be interviewed. I have been at Sarabande for just over a year now, and I am immensely happy to have a such a brilliant working atmosphere.
Tell us a bit about the kind of support the foundation offers you and what it’s like working from this space?
I think being part of a community helps people overcome difficulties and The Lee Alexander McQueen Foundation is a great community which brings greater levels of self-confidence to individuals who are part of the foundation. In January, I am planning to set up my own business, and I have received a lot of information and support through the foundation and the monthly talks they provide and guests they invite.

In what ways are you inspired by McQueen’s work and is there a particular moment from his career that stands out for you?
In 2011, I did a foundation in Art and Design at Richmond Adult Community College and when I received my fashion project, Alexander McQueen was the first name I wanted to research in depth and I specifically wanted to look at his Autumn/Winter collection, 2008. For me, The Girl Who Lived in the Tree, stood out the most. It is all about a journey from India to London, from traditional to contemporary, from past to present. Each piece is embellished with a strong craftsmanship of embroidery, red velvet and the silhouettes become more sophisticated with headpieces. I admire the way Alexander McQueen pushed the boundaries of fashion and his legacy still remains powerful in the sense that he can make the most impossible of things, possible.
How has being in the space aided collaboration between you and the other creatives in residence?
Collaboration! I love that word and exchanging ideas with different backgrounds. At the Lee Alexander McQueen Foundation milliners, fashion designers, fine jewellers and artists were selected very uniquely. At the moment, I am in discussion with Ben Hawkins on collaborating to create a fine jewellery collection. I am also very interested in making a collection with Serena Gili who is a fashion designer with a strong background on sculptural beaded pieces.
What are some of the challenges you face as an emerging designer in London?
Existing in one of the most privileged cities in the world, on its own has many difficulties. London is home to many talented artists and designers, with the great amount of talented, comes a high amount of competition. Living in a city where there is excessive competition motivates me to work harder in order to reach the level of success that I desire.
Esna Su is an artist-in-residence at the Alexander McQueen Foundation’s Sarabande studios – supported by Ketel One Vodka. Find out more about the partnership and Sarabande.