• Victoria Roque

Victoria
Roque

Rock Rollers- AW 26
“Every wounded creature is forced to metamorphosis.” Franz Kafka.
Inspired by Kafka’s words, I found resonance in the emotional and physical journey of moving to another continent in pursuit of my dreams; a deeply personal reflection on transformation, growth, and the resilience required to rebuild oneself in an unfamiliar world. Exploring metamorphosis as both a literal and symbolic process, led me to the work of artist Hubert Duprat. His collaborations with insect caddisfly larvae—who instinctively construct protective casings from materials found in their surroundings—Struck me as a powerful metaphor for adaptation and the reconstruction of identity in unfamiliar environments.
In my design process, I drew inspiration from the anatomy of the caddisfly larvae and the stages of its metamorphosis to shape the forms and structures of my garments. These ideas were first explored through collages and stand work, allowing me to develop a collection that not only reflects transformation conceptually, but also evolves visually throughout the looks.
I used a variety of materials to reflect this evolution; rigid waxed PVC was used to emulate the hardness of the larvae’s protective casing, while leatherette was treated with ultrasonic welding machine to create texture and raised patterns that mimic the intricate veining of insect wings. In contrast, lighter and shinier fabrics were chosen to evoke the silk spun by the larvae to build their protective tubes—symbolizing the shift from grounded ‘rock rollers’ to airborne creatures.
This contrast in materials helped reinforce the narrative of growth, protection, and eventual liberation. Ironically, through the process of transforming ideas to reality for this collection; I found myself in agreement with Kafka’s message, reminded at each step of the pain/beauty juxtaposition in the process of metamorphosis.

Colonii / Technology for Fashion Pathway

‘This project was developed in collaboration with Colonii, a community of AI-generated avatars gaining traction across digital platforms. The task involved selecting one avatar and designing a capsule collection of four looks inspired by the avatar’s aesthetic and personality.
For my contribution, I drew inspiration from the steampunk genre—characterized by Victorian-era silhouettes, mechanical textures, and a gritty, retro-futuristic charm. However, I wanted to push this idea further and reimagine it through a contemporary lens, influenced by futuristic gaming aesthetics and digital opulence. The result was a collection that fused intricate details, metallic finishes, and exaggerated silhouettes with sleek, high-tech accents, creating a bold contrast between past and future.
From the four looks, one was selected by the founder of Colonii to be brought to life physically. This chosen design, look #2, was also recreated digitally using CLO3D, allowing for a parallel exploration of traditional garment construction and advanced digital simulation—highlighting the potential of hybrid fashion in both physical and virtual spaces.’

“Dance Like It’s 1999”

 “Dance Like It’s 1999”—one of four creative prompts given by the lecturer—as the foundation for my concept development. To begin, I conducted in-depth research into the Spring/Summer 2025 fashion trends. From there, I merged the Y2K-infused theme with current trend forecasts and my own personal interpretation, which I titled “Prince-pocalypse.”
The phrase “Dance Like It’s 1999” is famously referenced in Prince’s iconic song, where it’s used to express a rebellious, joyful urgency in the face of a predicted nuclear apocalypse set to occur at the turn of the millennium. As the 20th century came to a close, programmers realized they had not accounted for the year 2000 when designing software that used two-digit year formats. This oversight, now known as the Y2K bug, sparked widespread panic. Lacking widespread understanding of how computers truly functioned, many people feared catastrophic consequences—ranging from planes falling from the sky to full-blown nuclear disaster—as the clock struck midnight.
My concept fuses this moment in history with a playful, glam-tech aesthetic, imagining what people might wear to celebrate the end of the world, in Prince’s style.’