Across the worlds of art, entertainment, fashion, business and technology we’ve seen first hand the power of creative thinking to define the future.

Throughout our work with industry leading minds we’ve noticed three key themes have formed the basis of our approach to every partnership — culture, curation & collaboration.

This series explores these themes with the people we admire most through a set of playful exercises.

For our ninth volume of Creative Counts, we spoke to Taskin Goec. Taskin is an up and coming fashion designer based in Berlin that caught our attention after seeing his willingness to experiment with showcasing designs in the virtual space.

Rather than taking a more standard approach of casting models and sharing his portfolio through photography, he often shares his work on 3D rendered models and landscapes he designs himself, creating a bridge between physical and virtual worlds. He started Maison Taskin in 2016, which in an article by Title Magazine is “not only a brand, but a universe in which he can test out different concepts and let ideas mature.” You can see his personal portfolio here and on Instagram.


After sending us the Creative Counts worksheets, we had a few follow up questions for Taskin:

What about the exercise did you enjoy?

I think the beauty of this exercise is that it shows the interaction between a creator and the world at a very specific point in time! I tried to be very spontaneous and intuitive which is probably also quite revealing..

Can you explain why you think less competition can lead to a more creative community?

I believe that precarious working conditions force artists to oversimplify and to focus on branding. Less competition would help us to shift from individual to collective dreams; from self-expression to political, ecological and collective ambitions. Creativity is the result of so many different driving forces. Competition is only one of them and it’s not the most inspiring on top of that..

What about wrestling and martial arts inspires you?

Wrestling is considered to be raw and tough, masculine maybe. But I find it so opulent and it reminds me of drag culture, in a way. I find it important to understand how masculine aesthetics are no less artificial than hyper-femininity. What inspires me with this is the idea of cultivated rawness. The words “artificial” and “natural” don’t mean anything to me and I try to overcome these concepts in my work, too.

Can you define “gremlincore”?

Gremlincore is an aesthetic that celebrates qualities that are generally considered undesirable, such as dirt, irregularity, rough textures and muddy colors. It is probably one of many buzzy online aesthetics but it plays an important role in my digital renders. Virtual fashion is often associated with perfectly smooth textures, chrome effects and all that. My approach is really to push the opposite: chaotic embellishments, tarnished metals, patinated leathers – these are very gremlincore elements to me.

Anything else you’d like to share?

I am very excited to announce an upcoming mixed reality project. I have been working on hybrid clothing for a while now and this fashion film is blurring the lines between analog and digital reality – think physical clothes with a virtual aura!

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