Currently being shown in Los Angeles, Approximate Emergent Properties exhibits fifteen years of garment construction and evolution by LA-based designer Jona Sees. Originating in 2009 with cult brand InAisce – raw, avant-garde designs inspired by mythology and meditative exploration – in 2019 Sees founded Eyn Vas, evolving his ethos through a lens of elevated fabrication, liberated silhouettes, sustainability and accessibility. Throughout, Sees has viewed clothing differently from most, drawing inspiration from nature and psychology to build links between the wearer and their world. This singular approach has resulted in his designs being championed and worn by cultural icons like Marina Abramović and Lenny Kravitz, featured in films such as Blade Runner 2049, The Hunger Games and Ghost in the Shell, and created in collaboration with celebrated artists like Claudy Jongstra and Jordan Kahn of Vespertine.

As part of Approximate Emergent Properties, the majority of pieces showcased are on loan from their owner, holding their own stories and experiences as items cherished and passed down. Here, Sees talks us through the exhibition and his continued commitment to construction and storytelling.

Alex James Taylor: Approximate Emergent Properties looks back across fifteen years, how was it tracing that personal history? Do you tend to look back or was this a new experience for you?
Jona Sees: I’m generally very forward-looking and don’t often dwell on past work, except when refining it. What I found beautiful about this exhibition is how it organically came to life – colleagues were referencing it on mood boards, customers were asking if I’d consider bringing some pieces back, and it gradually became clear that there was a story here that wanted to be told. Not a story about me and my work, but about the experiences people continue to have living with it, and the common threads that have carried through to the current work.

Since I’d sold all our archives at sample sales years ago, nearly every garment featured is on loan from people who’ve lived in and cherished these pieces for a decade or more. I reached out on social media, asking if anyone would be willing to lend their pieces for the exhibition, and the response was incredible – collectively people offered to lend hundreds of pieces. We selected about 60 and edited it down to the 30 we featured. For me, it’s almost like looking at someone else’s work yet with a clear connection to the current Eyn Vas collections.

AJT: Are there any pieces that really stand out as being turning points or that specifically resonate with you?
JS: My favourites were the collaborations. There’s a wild piece that came out of a collaboration with Dutch artist Claudy Jongstra, and it was featured in some beautiful shoots worn by extraordinary humans. Reliving that exhilaration was really fun. And there are a couple of other garments that, upon seeing them again, I realised still have a place in our repertoire, so we’re already working on refining and reintroducing them. Seeing those works that have stood the test of time really affirms the mission of Eyn Vas.

“…artefacts that both fictional and real-life legends have lived in…”

AJT: How did you want to set out the exhibition to best show the pieces? It’s great that people can get close to the garments and see the details and wear.
JS: I wanted people to first experience the experimental, raw, and more art-driven early work, curated as artefacts that both fictional and real-life legends have lived in – pieces that really make you wonder about the stories these garments have witnessed. There’s almost a historical element to it. Then, separated by thin, staggered veils that create the feeling of passing through different dimensions, we displayed the current Eyn Vas collections in a spectrum from light to dark. It’s an invitation for guests to step into their own story and imagine the experiences yet to come as they live in these clothes.

AJT: You often use the phrase ‘humble luxury’ – how would you define this? And how does this reflect today’s society and culture??
JS: I’m glad you asked about this. ‘Humble luxury’ can seem like an ironic contradiction at first, and I love that it gives people pause – or even puzzles them a bit. But really, it was the best way we could encapsulate what the clothing represents in just a couple of words. On one hand, it’s undeniably luxurious, on par with some of the highest-end brands that are often three to four times the price. On the other hand, it’s designed to be felt, not flaunted.

We aspire to create the most physically and psychologically comfortable clothing on earth, but our customer isn’t wearing it to signal status. They wear it because it makes them feel elevated in every way. That said, we love to play with styling, and it’s really fun to see how people incorporate it into their wardrobe, whether in understated or bold, extravagant ways.”

“…we hope to reconnect people with their ancient roots, reminding them that as humans we are a part of the planet.”

AJT: Across the last fifteen years, a lot has changed and we’ve been through a lot as a planet, how do you feel that Eyn Vas has moved with these changes and even been ahead of the curve?
JS: Absolutely, a lot has changed. My previous work was purely creative, and I didn’t give much thought to its impact, which is why I stepped away in 2014. Eyn Vas, however, was born out of a deep concern for the planet’s health. Although we officially launched only a few years ago, the conception began in 2018 with a vision rooted in a cradle-to-cradle vision that goes beyond just using eco-friendly materials.

While we do choose the most sustainable and regenerative materials and processes available to us, our mission is deeper. Through our use of natural fibres, biomimetic engineering, fluid silhouettes, and organic lines, we hope to reconnect people with their ancient roots, reminding them that as humans we are a part of the planet. I want to impart a respect for material objects and inspire a more considered approach to consumption – integrating clothing into one’s personal ecosystem. This has been our approach since day one and I think it’s what sets us apart from most brands that, despite their ‘sustainable’ claims, still encourage excessive consumption and a throw-away mentality.

Soon we’re going to launch a repurposing program wherein customers can literally give garments they’ve worn to the ground for store credit, and we’ll convert them. We’re still ironing out the kinks but it’s going to be a really fresh approach to repurposing. I’m excited about it.

AJT: The exhibition includes garments still in production, what can you tell me about those and where the brand is heading?
JS: Oh, this is the really fun stuff for me. Yes, I deliberately picked some garments from the past that, through countless iterations, have evolved into our most beloved pieces today and I’m pretty obsessed with refining our core, timeless collection ad infinitum. I want people to come back in years and still find a version of their favourite piece that fits like a second skin.

That said, we’re innovating in two separate directions: we’ll be rolling out some more accessible basics – think all the integrity of the core, just a little less precious. And meanwhile, I’m diving back into the deep end, peppering Fall and Winter with some off-world pieces. Think lost civilizations reemerging, ancient tech, garments that don’t belong here and now, but a few people will feel right at home in. Contrasting the familiar and grounded with the unexpected does something special.

But again, ultimately, our focus remains on perfecting and delivering what people have come to love us for and I think in a constantly changing and slightly chaotic world, there’s immense value in consistency.

Approximate Emergent Properties is on view until 15th September at 1634 W Temple St, Los Angeles, California 90026.