Tuesday 1 November 2011
Tuesday 7 June 2011
Christian Dior
Christian Dior was the master of control and release. Anchoring garments and volume to understructures was one of his many fortes. The combination of restriction with areas of sensuous volume is something that I particularly hope to achieve in my work - Dior is a masterclass.
References:
img1 http://emariam.tumblr.com/post/1426263234
img2 http://www.bluetramontana.com/2010/02/book-clifford-coffin-photographs-from.html
Monday 6 June 2011
Vivienne Westwood
I am including Westwood in my designer index no so much because her aesthetic resonates with mine but because her design practice does. I heard from someone who worked with her that a very large component of her designing process and construction process is done by tweaking on the stand. I find it necessary to do the same thing. Though I think flat pattern-making extremely important and enjoyable, I find every little change I make I need to toile - that physical incarnation is so important. Then - slicing it here, pinning it there - somethings can only be done on the stand. Viva la toile!
References:
img1+2 Spring/Summer 2010 style.com
Claude Montana
Claude Montana's work in the 80s and early 90s was BIG - influenced, I'm sure, by the period. However his work betrays an ongoing fascination with volume that cannot be explained away by the decade. His enduring dedication to cut, fabric and creating space between the garment and the body (similarly to Miyake now), Montana's designs are an exciting parallel to my own interest regarding interaction between the body and fabric. Also, discovering his use of folding and peeling - revealing - is a serendipitous realisation considering my current project.
References:
img1+2 http://strawberige.blogspot.com/2009/11/fashion-flashback-claude-montana.html
img3 http://fashionproject9.onsugar.com/Claude-Montana---What-Counts-11823011
img3 http://fashionproject9.onsugar.com/Claude-Montana---What-Counts-11823011
Tuesday 31 May 2011
Hussein Chalayan
Hussein Chalayan's Inertia collection and exhibition are an amazing demonstration of successfully creating a feeling of movement in a garment. The windswept effect not only affects how we perceive the clothing, but also the environment they are in.
From a dissemination perspective, I think having supporting objet in an exhibition setting works really well. Elevating the space from a retail feel, the sculptures are also an opportunity to explore the concept or research being explored without being constrained by the body or specific materials.
References:
img1 http://pichaus.com/design-spring-projects-chalayan-@9d8124752199f51da9375c4089c97f5c/
Irving Penn
Irving Penn's photography, particularly his work with Balenciaga, has an exceptional felling of 'woosh' as Peter and I have decided to call it. That is, a sense of the fabric having a life of its own away from the body, traveling independently if you will. A sense of movement, not like rippling drape, but like directional volume - volume which draws the eye across space, thereby creating a feeling of movement.
It is unclear to what extent the garments themselves possess this quality, or to what extent it is created by the photography. Irrespective, the dynamic images are beautiful inspiration for creating garments with structure, volume, and movement.
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