Montréal based Process Visual’s 10th collection, “BALLOON,” was unveiled at Fashion Art Toronto S/S ’24 last month, under the aegis of Lignes de Fuite—a talent incubator initiated by Milan Tanedjikov. The platform, known for its role in fostering exceptional talent, highlights the burgeoning influence of Montreal’s fashion landscape and its status as the leader of sartorial innovation and aesthetics in Canada.
At the forefront of Process Visual is Jessy Colucci, a designer whose work defies traditional fashion boundaries and whose seamless integration of art and design results in garments that challenge conventional norms. In an interview, Colucci delved into the nuances of this latest collection, offering a glimpse into the inspirations and meticulous craftsmanship that define “BALLOON.”
The collection is a reflection of Process Visual’s dedication to both creativity and quality. Each piece, crafted with intention and precision, embodying a blend of avant-garde aesthetics and deliberate minimalism.
Photo: @peachmillk
Process Visual’s new collection “BALLOON”, is one that is highly conceptual and repeatedly distorts the human figure through the use of balloons. What made you think of using this object in particular to abstract the body?
I was inspired by my final photography project in university — an exploration of the dichotomous relationship between object and body. Ultimately, this is a genuine result of my quest to connect sculpture, the human form and clothing.
What message or story did you aim to convey through this runway show? What should the audience take away from this display?
I began by questioning my personal relationship to the balloon as a sculptural element. I thought about its materiality and physicality as well as my emotional response to its presence. This was Process Visual’s 10th collection, so I wanted the show to celebrate the brand’s life along with my own. The balloon inhales air in order to grow and withers away once it exhales. There is something poetic about breath being used as a metaphor for life and death. As for what the audience should take away, I don’t aim to police anyone’s interpretation of my work. I am simply a mediator between the audience and the art. I think it’s beautiful that the same display can be viewed in so many different ways. I add a lot of personal references and easter eggs within my designs that most won’t notice. This is the power I hold as an artist.
How do the hair, makeup, and clothes compliment each other?
Me and my long-time best friend Edouard Pierre came up with the makeup concepts together. Our aim was to bring a smile to the runway without having the models actually smiling. Unintentionally, the collection ended up taking a joker-esque turn, but I didn’t mind. As for the hair, a simple gel back is standard for Process Visual. For this show in particular, I wanted the main focus to be the sculptural balloons and the makeup.
Photo: @prevalentfocus
Do you see this new collection existing outside of the runway and, instead, in everyday life? Would it be able to retain its messaging without the balloon element?
These pieces are absolutely wearable on their own or as accessories to layer onto. The final look was sculpted from 10 tote bags. I find it interesting how a simple bag can turn into a sculptural piece of art. My runways are more than a corporate advertisement, they express the essence of my design language. I believe anyone who wears my clothing carries a little part of me with them because the message is fundamentally and energetically prescribed in the design itself.
Were all the designers given a specific prompt for Lignes de Fuite’ S\S ‘24 show at FAT that you had to interpret?
Quite the opposite. Milan from Lignes de Fuite helped me push the boundaries of my brand, allowing me to better understand my approach to design through creation and experimentation. I have so much respect for him. He has helped so many Canadian designers blossom.
How has your work evolved since graduating from Collège LaSalle and joining Lignes de Fuites?
It transforms every season. Since starting my Bachelor of Fine Arts at Concordia University, my work has changed so much. My fine arts background has expanded my understanding of design, breaking the boundaries of what it means to work in fashion. Me and Milan have always worked together since he first became my teacher and created Lignes de Fuite Volume 1. Throughout the years, we have supported both our individual and collaborative projects, emulating our visions of Canadian fashion in the future.
Photo: @peachmillk
What is the process of coming up with the ideas, designs, and execution of such an ambitious collection? How does your initial idea develop and evolve throughout the months?
It often starts with something small. A word someone said, a gesture that caught my eye, an object, a movement, or a concept I might want to explore. I then spend a lot of time focusing and thinking about all its aspects and what it means to me, creating association to it. I speak about it with friends, research its history and do everything I can to truly understand its essence. This simple thing becomes its own separate entity. To me, it is alive. By the end — this thing, or concept has built a solid web and it’s up to me to connect the dots together. Every aspect of each collection is carefully thought through.
Please describe Process Visual in three words.
Esoteric—Experimental—Stillness
What is Process Visual’s intended audience? Who do you design for?
My designs are modest and sober, yet avant-garde. For example, I will create a plain black t-shirt, but there is a twist in the pattern, cut or fit that transforms it into something completely unique. I don’t necessarily design with a specific gender or age group in mind, but I do believe my work will speak to those who appreciate an esoteric wardrobe.
Photo: @prevalentfocus
How does the intersection between photography, fashion, and art affect your work?
I find it liberating to jump from one artistic medium to another. My sculptures, clothing, and photography influence each other. These three worlds are often separated. It’s interesting to merge them and see what happens. I enjoy taking on all these different roles, whether it be sculptor, designer, or photographer. My vision can be applied to anything, as long as I have something to share with the world. Expressing yourself can be hard at times. The more languages you speak, verbal or otherwise, the easier it is to share who you are with others.
Do you plan on further developing this concept in future collections or will the next display be going in a completely different direction?
Yes and no. My next collection will have a different reason to exist, but will still be connected to this one. I always foreshadow my next collection within the current one. Ultimately, I am always pursuing new ideas while occasionally looking back. My brand is a life project dissected into chapters. If you look closely at the entirety of my achievements, my collections still speak to each other in shapes, colors and meanings. Maybe this concept will return, maybe it won’t. For now, it’s hard to say, but I’m always open to revisiting old ideas.
Are there any upcoming projects or collaborations you’re excited about?
New projects are always in the making, whether it be in the form of photography, sculpture, or fashion. At the moment, I am quite fascinated by astrology, specifically the Aquarius sign. Process Visual’s 11th collection will debut in the fall. Since Aquarius is the 11th sign in the Zodiac cycle, it will be the main focus of the next show.
Photo: @COSPLAY
Anaïs-Aimée Rafaelsen is an artist and critic based in Toronto. Her work has been shown in exhibitions as well as featured in The Walrus. She is currently obtaining her BDes in Material Art and Design at OCAD University.