In the spirit of recycling, reusing and restoring, Chelsea Jean Lamm has come out to be one of a part of the key solutions on how to curb rapidly growing waste from our extreme consumerism of single-use plastic and other waste-encouraging products, slowing the fast-growing effects of climate change. 

Inherently, fashion is a form of self-expression. Still, it is uncommon for most fashion consumers to consider clothes as an artistic form of self-expression by the fashion designer and not just fabric or material. Even fabric and material go through many preparative processes that inherently make them artworks, but the nuance of what this means is lost to many consumers. To make matters worse, fast fashion, like fast food, is rampant. But, unlike fast fashion where clothes are easily disposable, wearable art pieces from Chelsea Jean Lamm are slow pieces, they express Chelsea’s invented esthetics, a blend of visual arts and haute couture designed to be timeless. The brand’s commitment to sustainable fashion aligns perfectly with the quintessence of wearable art, where longevity and individuality are paramount while prioritising self-produced repurposed textiles, leather, books, fibres, beads, and even metal or plastic. Shaping and giving a new life to the materials by sewing, felting, collaging, stitching, glueing, painting, and weaving.  Each product from Chelsea Jean Lamm tells a beautiful story and is a one-of-a-kind, one-of-one precious piece.

The modern wearable art trend by Chelsea Jean Lamm is a bit more free and movement-oriented, as opposed to wearable Victorian-era gowns that originated the concept of the art form. These special qualities are what make Chelsea Jean Lamm a remarkable brand. At their core, they combine many seemingly contrasting realms: Origami, fashion, painting, sculpting and feminism, defying the boundaries between the five and offering a very fresh and unique perspective that challenges the status quo of female body politics, inviting questions for discussions, fostering connections and interactions with the brand. 

Hello Chelsea Jean Lamm and welcome to Random Photo Journal! Briefly introduce yourself,  What do you do and what got you started on your creative journey? 

Firstly, I want to thank you for your interest in my work and for the opportunity to share my creative journey with your audience. I am thrilled to be here and deeply appreciate your important work. I am a fashion designer focusing on visual optimism and ethical responsibility through wearable art. I fuse contemporary fine art with innovative fashion design, giving long-forgotten and discarded materials a second life to shine. Through a multi-disciplinary collaboration with my partner and collage artist Ashley Elizabeth Lamm, we aim to create living and wearable works of art through fashion that merge the past, the present and the future. I decided to pursue a career in the fashion industry because I felt a strong need for improvement in a field currently facing numerous ethical challenges. Many issues deeply moved me but were not widely discussed at that time, and I realized that fashion could be the artistic medium through which I could find personal purpose and meaning.  In 2018, I enrolled to study fashion design at AMD Akademie for Fashion and Design in Munich,  Germany. Shortly after, I began assisting Michal Hídas, an Israeli fashion designer who collaborates with a Palestinian architect from Gaza. Later, I interned with Iris van Herpen in her haute couture atelier team in Amsterdam. Both experiences profoundly influenced my view on fashion:  Michal taught me about the vital social power of fashion to build bridges while working for Iris encouraged me to believe that anything is possible within the realm of fashion. In 2022, I graduated as the Best Graduate from my university and began my journey as a fashion designer. It was never really my plan to start my label, but after receiving a lot of encouragement, I decided to follow my vision and jump into the unknown. 

The images on your website and Instagram are surreal and this gives insight into a curious creative team of individuals with diverse beliefs coming together to execute something as beautiful as Chelsea Jean Lamm. What are some of the materials that are regularly recycled and where are they generally sourced from? 

I believe that fashion is no longer about only the designer  – it’s about teamwork and pushing boundaries together to achieve the unimaginable. I’ve learned that when creatives trust each other and embrace their unique selves,  the most innovative visions emerge, leading to truly magical results.  When it comes to our upcycling process, which is integral to our designs and oftentimes “the birth” of our creations, we start where others have already ended: We meticulously hunt for hidden treasures in the form of analogue print media, such as second-hand books, magazines and catalogues found at flea markets, second-hand shops or generously shared by friends and acquaintances who know of our passion for rescued materials. Each page tells a story, and when we spot a striking photograph or intriguing image, our scissors delicately cut around it. These pieces are then deconstructed and carefully reassembled into intricate two-dimensional paper collages.   With over 320 million books discarded annually, we feel a profound sense of purpose and relief in knowing that some of these volumes – often containing wisdom, historical insights, centuries-old knowledge and current research – are saved from incineration or landfills. Instead, they are given a chance to be reborn and transformed into new materials. 

Recycling is reusing and reusing can be dirty. We believe the idea that an object was discarded but given new life often scares a lot of people away whenever they hear that a product was made from recycled materials. To enlighten and educate the fashion public and consumers, Random Photo Journal would love if Chelsea Jean Lamm could take us through the steps of how the brand prepares its recycled materials until they are suitable for production. 

There’s still a stigma surrounding recycling, pre-loved materials, and upcycling. While the books we collect can occasionally be soiled, often they are in surprisingly good condition. Only a fraction of the book may show signs of wear but we rarely encounter truly dirty books.  More commonly, we find little scribbles, markings and colourful highlights that were important to the previous owner – these discoveries are some of the most enjoyable aspects of our design journey. For instance, we once found a book about different types of snakes adorned with carefully pinned news articles and notes about certain snakes, suggesting it was a cherished part of someone’s life.  Sometimes we encounter distinct smells that evoke memories. The most familiar scent is that of old, dusty books – a nostalgic aroma familiar to many. Another unique scent might hint at the previous owner’s habits, like reading and simultaneously smoking cigarettes or cigars, which personally reminds me of my South African grandmother and German grandfather. A common misconception about our work is that the fashion derived from our paper collages is itself made of paper. This isn’t accurate. We uphold both disciplines equally, creating two distinct final products: first, the contemporary fine art collage crafted from discarded print media, and second, a wearable art piece digitally shaped and re-adjusted to complement the human form using different technologies. Throughout our design process, we navigate seamlessly between digital and analogue tools and materials, recognizing that our work embodies a symbiosis of tradition, craftsmanship and innovation.

At the core of Chelsea Jean Lamm, it is obvious that the brand has a desire to be near nature. Can you briefly tell us how your history and relationship with Nature began? This question comes as a result of studying your brand designs and, to be honest, some of them are patterned like a lot of pretty butterflies stringed together to make an outfit. A  subtle innate creative direction that gears towards affiliating with other life forms such as plants and animals. 

I love this question as well because it speaks to the very heart of my journey as a designer. I have a vivid memory of my grandmother, who advised me to seek inspiration, colour palettes, and textures within nature. While visiting her and sitting in her garden in Johannesburg, she described the colourful appearance of a rooster so vividly that I could almost see the shimmering emerald green alongside the lush burgundy red and golden terracotta right in front of my eyes. Since then, nature has always been my primary source of inspiration.  As I grew older, I realized that nature, particularly the exquisite, nourishing and regenerative aspects of our ecosystem, constantly reminds us of the importance of circularity. Every element in nature is designed to be part of a continuous cycle. Every atom in nature is transformed to benefit another organism. Sadly, this principle is often missing in the fashion industry and, more broadly, in nearly every industry. In my latest collection, “Echoes of Eden,” I envisioned a future where animals, humans, and artificial intelligence (or technology as a whole) coexist harmoniously with nature. This collection reflects my belief in a responsible and interconnected world, where every creation respects and enhances the natural world. 

What does Fashion Feminism mean to Chelsea Jean Lamm and why is it necessary? 

Fashion Feminism, to us, is about empowering women by creating designs that celebrate and respect diverse identities, bodies and stories, especially those of marginalized groups. Embracing Fashion Feminism allows us to challenge outdated notions and advocate for a more inclusive and diverse representation of womanhood. Our designs act as futuristic sets of armour, transforming the wearer into utopian cyborgs adorned with recycled imagery sourced from mainstream media and second-hand books. Collage offers a method of restructuring these paper cuttings to build designs that challenge problematic perceptions of femininity. Our design silhouettes reflect this ethos by transforming and enhancing different proportions of the human body, moving away from discriminatory beauty standards.  When we work with models, we typically always ask, “Do you feel comfortable wearing this piece? Do you have any concerns?”. The model’s well-being is of the highest importance and we believe no one should have to change themselves to fit a garment; the garment should adapt to them, enhancing their confidence. We embrace feminist work ethics in every aspect of our creative process. As women, both  Ashley and I understand the impact of ill-fitting or unflattering clothing and the social pressure that comes with dressing. Collaborating with other female creatives, we establish a tight-knit artist collective that fosters a deep level of understanding and trust, creating a supportive environment.  

Briefly discuss the importance of sisterhood and why the core belief of Chelsea Jean Lamm is built on that foundation. To be specific, in regards to women working hand in hand to decolonize the patriarchy, does Chelsea Jean Lamm believe that sisterhood is where true feminism starts? 

Sisterhood holds an incredibly special place in my heart,  shaped profoundly by my upbringing alongside my older sister, Ashley who is my partner in crime.  Our childhood together was a vibrant tapestry of imagination and creativity, where pens and paper were our tools of expression and adventure. Despite our four-year age gap, our bond strengthened over time. During the  COVID-19 pandemic, Ashley and I found ourselves back together, navigating lockdowns and social distancing side by side. It was during this time that we rediscovered the joy of dreaming and creating together. In many ways, our collaboration felt like a return to our roots,  where creativity was not just a passion but a lifeline – a way to find beauty and hope amidst the challenges of the world. For us, sisterhood has always been where our journey into feminism began. It’s not just about being sisters by birth but about embracing a deep connection of courage, mutual respect, and unwavering support. Beyond our relationship, we strive to foster a sense of sisterhood within our entire team at the atelier. We believe in redefining traditional notions to encompass inclusivity, where everyone’s strengths are celebrated and supported.  We see our work not just as fashion but as a manifestation of our shared values and beliefs. It’s about creating a space where creativity thrives, where individuals feel empowered to express themselves, and where the spirit of sisterhood permeates every aspect of our process. When we support each other and celebrate each other’s successes, we believe we can create a ripple effect of optimism and empowerment that extends far beyond our studio walls. 

Since an apple didn’t fall on your head while sitting under a tree, what birthed the idea to create the Brand Chelsea Jean Lamm? Who are some of your big inspirations? Also, it would be nice if you could also mention some of your supporters/fans and shareholders. 

To be honest with you, after graduating, I didn’t have a clear path ahead of me. I was bursting with creativity and ideas but faced numerous doubts and challenges: I didn’t attend a prestigious fashion school, lacked any kind of network and didn’t resonate with the mainstream values of the fashion industry. Despite these hurdles – or perhaps because of them – I  felt an intense urge to create something meaningful. The more obstacles I saw, the more determined I became to carve my path and challenge the status quo. So, I took a leap of faith into the unknown yet again. I listened to my inner voice and pursued my passion. This fearless pursuit of my vision fuelled my journey to create my brand. One of the designers who profoundly influenced me is Alexander McQueen. His collection  “Plato’s Atlantis” left me spellbound with its mystical and revolutionary essence. McQueen’s ability to infuse profound meaning into his collections, often drawing from theatrical and mythical inspirations, resonates deeply with me. His visionary approach to fashion has been a beacon of inspiration throughout my career. I’ve been fortunate to have had incredible support along the way. My parents nurtured my creativity from a very young age and continue to be my biggest cheerleader. My grandmother, Nana, instilled in me a strong belief in the magic of everyday life. Following her passing, I embarked on a journey of healing and began incorporating elements into my designs that evoke her memory. This enabled me to maintain a profound connection with her, and at times, I feel her essence, humour and lively spirit within my creations! Professionally, I’m grateful to individuals like Pedro Sales, a Brazilian stylist who was the first to ever believe in my work. When he selected one of my pieces for Vogue Brazil, it validated my path and fueled my confidence for which I will always be grateful. Barbara Franchin, the visionary behind ITS Academy, has also been instrumental. Her dedication to nurturing emerging designers gave me the courage to persevere and affirmed the relevance of my work. I’m indebted to countless others – our creative collaborators, my mentors, my close family, my fiancé and even those who doubted me. Each has played a role in shaping my journey and strengthening my resolve for which I will forever be grateful. Lastly, dear RPJ, I want to express my gratitude to you. Your dedication to showcasing African talent globally is immensely meaningful. I appreciate your support and the opportunity to share my story. Your work is essential, and I’m excited to see where your journey takes you. Thank you for allowing me to be part of it!