The Dark Elegance

Olga Ruiz and her fashion label, Dystopia, fearlessly challenge norms with a revolutionary blend of creativity and social awareness.

Story By Omar Enrique Matos

Updated 02:58 pm EDT, August 26, 2024

Published 01:54 pm EDT, August 26, 2024

Photo Courtesy: Dystopia & Olga Ruiz

Special Thanks
Model: Vinila Von Bismark
Stylist: Ismael Espejo

In recent years, we’ve been captivated by the world of Barbie and the so-called “Coquettes” with their ultra-pink portrayal of sculpted bodies and platinum blonde hair. But have we forgotten the allure of darkness? Let’s step into the world of rigorous black and sophisticated elegance that defines Olga Ruiz, also known as HONEYKILL — a prominent graffiti artist from Barcelona whose distinctive style has made a significant impact on the urban art scene.

Ruiz’s work has not just left an indelible mark, but a vibrant, pulsating heartbeat on Barcelona’s street art landscape, particularly in neighborhoods like El Raval and the Gothic Quarter. Through her art, she has not only amplified the voices of marginalized communities but also ignited a fire of social change, shining a light on issues such as immigration and integration.

Her pieces don’t just spark conversations, they ignite a revolution, encouraging public engagement and fostering a sense of community and belonging in these historically rich and culturally dynamic areas, which draw both locals and tourists for their unique blend of past and present. Olga Ruiz is not just an artist; she is a visionary, a maverick who defies conventional aesthetics. Through her fashion label, Dystopia, she doesn’t just explore the boundaries of beauty and genderless fashion; she fearlessly challenges and redefines them with a blend of creativity, wisdom, and social awareness that is nothing short of revolutionary.

In her own words

My experience with fashion has been somewhat accidental due to life’s circumstances because my background as an artist has primarily been in graffiti and street art. For personal reasons, I moved with my partner to Indonesia, a beautiful land known for its diverse cultures and traditions. It was there, on the paradise island of Bali, that I was able to start my fashion project.

I was fortunate to meet a great team of master artisans and was able to channel all the art I had inside—the creativity, expression, and talent for graffiti and illustration. I’ve always had the ability to convey emotions, ideas, and experiences through creative mediums, reflecting the identity of Honey Kill, the culture, and my personal experiences. It’s a way for me to connect with myself and others through the environment, using art as a universal language that transcends words. All of my work found a new canvas, in this case, called fashion.

I’ve been greatly influenced by my grandmother, who was a seamstress, sewing, and pattern-making from home, so I was always very familiar with clothing construction. As a child, all my clothes were made by my grandmother. My grandma was the greatest seamstress I’ve ever known. I believe that life presents you with opportunities, and everything aligned, laying the foundation for the Dystopia project from my childhood.

Genderfluidity

Once in Bali, I felt a certain restlessness in being in a new place. The inputs you receive from the people who live there, the local traditions and customs, the sensory stimuli like new smells, the rich cuisine, and everything around you influence you. I was very clear that, besides bringing my art with me, I wanted to create a garment that was genderfluid. Some time ago, I faced the dilemma of not finding silhouettes that matched the looseness and genderless definition I needed at that moment. Just over 11 years ago, clothing brands were heavily focused on styles and/or collections that were either very feminine or very masculine. Often, I found myself buying from the men’s department because I liked how the shirts fit me much better.

Let me also say that Street Art culture and the skater style are inherently genderless. Women and men are more alike; it’s a proudly underground culture, vastly more open, inclusive, and tolerant. The style that skaters curated, initially out of necessity and comfort for their sport, has grown exponentially to significantly impact global fashion trends. The hallmark of skate fashion began as an expression of rebellion, a deviation from mainstream sartorial choices. Skate attire, characterized by its comfort, durability, and distinctive attitude, resonates with individuals seeking to make a statement against the status quo.

The Origins

So, I decided to create my first collection. Dystopia has a very romantic and familial focus since my father was from Granada, in southern Spain, which has a strong Arabesque and Nasrid influence. All the graphics used as symbols of Dystopia’s identity are reflections of my father’s childhood. He was a photographer who loved capturing ancient buildings, which he later drew on the computer. At one point, I found a large personal archive of photographic material accumulated by my father over the years. Culturally speaking, it is powerful to see the infinite cultural and artistic richness of southern Spain.

I wanted to bring all that rich knowledge to a magical place like Bali, where cultures like Hinduism, Islam, and Christianity converge and coexist in perfect harmony under the same crucible. This was also a turning point that gave me the push to start designing and creating amid so much cultural richness. In Europe, we live in a time, or at least I grew up in a generation where we didn’t know multiculturalism—we were very closed off, and there is still a lot of ethnocentrism.

The stigma towards immigrants in Spain persists, reflecting a deeply rooted negative perception in society. It is crucial to address these prejudices and recognize the valuable contributions immigrants make to the cultural and economic diversity of the European continent. Empathy and understanding are fundamental to fostering more harmonious coexistence and building bridges instead of barriers. Immigrant groups are the worst valued socially and suffer the most discrimination from European society, for example, in the form of Islamophobia towards people from Arab countries.

Ethnocentrism

The contemporary European history taught here doesn’t really teach you where we come from, what cultures exist, or how they have coexisted. Ethnocentrism and a sense of superiority make it evident that each human being acts according to their own norms, learned behaviors, and cultural values. Of course, we all think our behavior and way of thinking are correct, normal, good, and, above all, the most important. It’s vital that we consider this. For intercultural relationships to occur, we must leave our ethnocentrism behind and start from the idea that there are no better or worse cultures—they are simply different.

When I arrived in Indonesia, I realized that both Muslim and Hindu girls attend public schools, and they are best friends. Some wear the traditional hijab, and others don’t, and there are no barriers. That fascinated me because I thought we have a lot to learn from these children and the misguided idea we, as white people, have about countries we call third-world, which they are not at all.

Dystopia by Olga Ruiz, aka HONEYKILL; Stylist: Ismael Espejo

They are far more advanced than we are in terms of cultural integration. This raised doubts in me, and I wasn’t sure if I should showcase all the family and cultural heritage I have. I thought I might be labeled as a white woman who is using an aesthetic or cultural appropriation that doesn’t belong to her. The production of racialized others is a process inherent to capitalism. In Spain, we were Arabs before we were Christians.

My last names have Arab heritage, so I began to bring visibility to my history and culture to normalize and embrace multiculturalism because you cannot deny where you come from; you cannot deny other cultures because you think yours is superior. Unfortunately, there is a great lack of knowledge. I tell you this because Dystopia, as a brand, has a strong multicultural component.

The Brand

The brand’s kimonos feature hand-embroidered Arabic calligraphy with Hindu symbolism and a strong astrological influence. This project was born without any particular intention, with this romantic notion of wanting to express and admire culture from a genderless and oversized aesthetic, as it needs to accommodate all body types. Genderless fashion is what was previously known as ‘unisex fashion,’ meaning clothing that anyone can wear, regardless of gender or identity. Genderless fashion is designed so that anyone can dress in a way that feels good without worrying whether the clothing is masculine or feminine.

The Origins

Dystopia offers the freedom to dress based on personality and personal preferences, fostering creativity in every look, always using the strict black as the brand’s identity symbol. It is created for anyone to wear. Just as any man can stylishly wear a skirt and any woman can shine in a suit and tie, a kimono is just as versatile for both sexes. This stems from my background in street art.

We all wore very oversized, open clothing; we didn’t follow the fashion industry’s standards. We were very free, and what started as a very street art brand that wanted to do something related to graffiti and Nasrid art has evolved, almost unintentionally, into a more extraordinary brand because it goes beyond the ordinary. These are garments that will accompany you in very special moments.

These are not pieces you might wear every day. They are wardrobe staples that serve as a stronghold in important moments. In the end, they are minimalist patterns designed to accommodate all body types. It’s a commitment to clean lines, with textures and fabrics as the main characters. I love playing with fabrics.

The fabrics you find in Asia are nothing like what you find in Europe. Bali is a place where cotton, rayon, silk, etc., are worked with very well, and this has given me a lot of room to develop garments in certain fabrics that drape well and hold their shape due to their weight and rich texture, transforming the pieces and the pattern itself, providing more inclusivity to the person who wants to wear them. They are very versatile and adaptable pieces.

#isthenewblack

This is a very independent project that you won’t see on the fashion show circuits. For me, the runway is synonymous with standards and guidelines dictated by the fashion industry, and I don’t like that at all. I believe in Slow Fashion because, depending on the year, I can create a limited number of pieces or one or two collections. Through Slow Fashion, we advocate for more conscious and sustainable consumption, promoting more responsible production by using sustainable materials and artisanal techniques and prioritizing quality over quantity.

Slow Fashion brands like Dystopia focus on the durability of garments, transparency in the supply chain, and labor equity. We also encourage conscious consumption, urging our customers to invest in timeless, quality pieces. We strive to create durable pieces that will accompany you in very special moments of your life. The Dystopia customer is someone who knows what they’re looking for, knows what they want, knows where to find it, appreciates craftsmanship and the fine manual work of the pieces, and doesn’t skimp on price because they know they are acquiring a unique, special, and quality item. They are not a compulsive consumer.

Omar Enrique Matos

Associate Editor, Fashion & Culture

Meet Omar Enrique Matos: part aficionado writer, bespoke tailor, radio host, and former fashion booker. With a flair for fashion and a penchant for fun, Omar seamlessly blends expertise an passion with entertainment. From crafting bespoke suits to sharing style secrets on air, he’s a true Renaissance man of the fashion world.

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