Otherworldly, breaking free from the confines of what stunts us, the world of fashion creeps in so gracefully, so thoughtfully and understanding. The ability to reflect this innate freedom of expression and all that encompasses it transcends the present, shuffling us to slip dreamily into the fantasy world that we find ourselves already running toward. Perhaps this fantasy world invites you in, and as you walk through you pass by inanimate and animate objects alike, a wave of intense inspiration surging through you swiftly, you become almost light headed by how strong this mix of ethereality and edge pulls you in. There is a comfort in knowing that in this world nothing is normal, everything is testing the boundaries of what is considered typical. There is intention behind what is chosen, and there is a vision.

That is the effect, and even the suggested feeling that erupts when taking in the ASLAN World accessories and designs. Creative Director CJ Aslan’s uniformity for the brand is maximalist and dreamy, which has been naturally placed in a status of legend – having already left its mark on the industry at the MET GALA in 2021, thanks to the 14K gold custom glove that donned singer Maluma’s arm. ASLAN World is no stranger to using metals and non-tarnishing materials such as stainless steel, which separates their pieces from their respective counterparts.

The brand’s iconic products such as the Teeth Flats, and Shoe Covers were reflected in the the spiked heels, which were integrated seamlessly into Luis De Javiers’s SS24 Collection. The collaboration between the two creative minds allowed a deeper look into the avant-garde visual experience, resulting in a transformative and unprecedented alignment that was all-encompassing. ASLAN World proudly contributed to Luis De Javiers’s LAFW runway show by working alongside the designer to produce pristine craftsmanship highly suited for the brand’s aesthetics and identity.

With guidance under the direction of famed and beloved designer Riccardo Tisci, ASLAN World and Luis De Javiers effortlessly curated an extraordinary catalog of accessories, embracing and complementing the exact essence of the eponymous collection. A milestone partnership for both emerging brands that have a tendency to rebel by nature, serves as a captivating representation for artist communities, witnessing the elevation of their visions for runway fashion being taken to boundless heights. CJ Aslan spoke with us about all things pertaining to the ALSAN World. 

‍Every brand has some source of inspiration defining their creations. What inspired you when working on the accessories with LDJ and how has that inspiration materialized into the styles?

We felt a really beautiful meeting point between both of our works. The accessories I create with ASLAN WORLD in a lot of ways exist in the same world as LDJ so it was very natural to support and collaborate on the collection. We both we have been fond of each others works for a while so it was perfect timing to work together

Many of the designs presented in the LDJ SS24 show aren’t typically what would fit the social culture’s narrative as status quo. What narrative resonates most with the brand and how does ASLAN WORLD challenge the status quo? ‍

I think we both are very passionate about pushing what is considered normalcy in the fashion world. It’s something that sits strong with both our brands.

Individuality is what makes the world of textiles so unique. ASLAN WORLD has applied this concept of individuality in shoe design very well, how did you come up with the design of the Teeth Flats?

I want to create a statement piece that is unisex, comfortable and universal. Curating non parallel materials to function in synchrony. Something functional but maximalist. Most of my designs start from a feeling or inspiration that is quite far from a fashion object itself but find representation within existing imagery such as a sea urchin or a Floss silk tree that adorn themselves with protective spikes.
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There are various definitions for fashion and each definition is specialized in who it applies to and in what ways. What does fashion mean for ASLAN WORLD and how has
that meaning instilled itself in your work? Which direction do you see the brand going with this launch?

ASLAN WORLD looks to take materials and pieces you wouldn’t normally expect to be paired together and pairs them in a way that allows them to be seen in a new way, I see ASLAN WORLD stepping full on into ready to wear, I see more collaborations in the near future with brands that align with the world building we are doing in house as well
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You typically use various metals, silvers, and chainmail as materials in much of your products and styles – what makes this medium so special for the brand?

We design a lot with metals that have a long life span. Specifically stainless steel will never tarnish or worn - it’s something that would last for years and years without decomposing, to me that’s important as most brands creating now the materials used have a very short lifespan. I look at ASLAN WORLD as collectibles and designed objects to pass down over generations. With sterling silver we used a high quality imported from Italy - a softer metal that allows the
piece to leave marks and hold the story’s of the places it has been worn. To me fashion must be intentional.
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Would you consider creativity and revolution as mutually exclusive in fashion or are the two more intertwined? Would you define the products from ASLAN World as a combination of these two?

I feel in order to have revolution in fashion you need to find a translatable way to express your creativity in a way to allow understanding to make change. ASLAN WORLD at its core is a building block for creative ideas and identity to communicate from design to consumer. Fashion needs to be understood- it can be as complex as you would like but if there’s nothing digestible to grasp you limit the ability to understand and create change or room for something to be understood and enjoyed in a new way that it might not have been able to before. As we know everything is recycled in some capacity.