Everyday Shapes and Structures
In our introduction to the pathway one of the things that was emphasized was that fashion designs were not inspired by fashion. That is to say if you base all your ideas on last seasons clothes they will likely be very repetitive and uninspiring. Fashion can be inspired by many things - ourselves, personal identity, art, architecture, nature, colours, textures etc.
For this project we collected primary research through observing architecture in the local area - later picking out shapes from the buildings to inspire our designs.
'The clothes that I prefer are those I invent for a life that doesn't exist yet - the world of tomorrow.'
Pierre Cardin Past, Present, Future, 1990.
During the fifties Cardin opened a menswear boutique in Paris where he sold new, informal men's gear like collarless jackets and roll neck jumpers. He made collarless suits which the Beatles' later stage costume resembled.
His interest in architecture showed up in the geometric shapes which became his trademark in the 1960s. His dresses were decorated with circular and rectangular motifs. He preferred crisp, supple textiles like wool crepe and jersey, manufactured by the Italian firm Nattier.
Cardin was also fascinated by new 'space age' materials like vinyl, silver fabrics and large zips. He added moulded plastic visors to helmet-like hats to make them resemble astronauts' headgear. During the 1960s Cardin sold widely in the US and the UK through department stores like Selfridges. Today Cardin boutiques worldwide sell a whole range of fashion,
accessories and toiletries.
"Issey Miyake is an internationally renowned designer. Inheriting his spirit of innovative product creation with the goal of enhancing people's daily lives, Miyake staff constantly search for ways to incorporate the joy of life into the company's creations."
"ISSEY MIYAKE has regularly participated in Paris Fashion Week since 1973. The design concept challenges the conventional idea of garment making and strives to highlight the relationship between body and cloth."
“Celia is a droll observer. Her work is always lively and ‘pretty’.”
“Celia’s designs are heaven. They are original, beautiful and like works of art.”
“Celia is one of the most talented textile designers ever. She’s brilliant….”
What strikes me as interesting with Celia Birtwell's work is that the illustration behind the garment is almost like a piece of work in its own right. She has very stylized illustrations, which to me don't reflect the actual garment.
"Helen Bullock is a textile designer whose self titled label uses bold colours and strong silhouettes. As a student at Central Saint Martins, Bullock found the freedom of illustration a vital part of her design process and has since become equally represented by her quirky illustration style. Her past work experiences include Ossie Clark, John Galliano and a collaborative project with Anthropologie. She has also worked as a freelance textile designer for Louis Vuitton and works as a visiting illustration lecturer at CSM."
Jean Paul Gaultier/ Comme des Garcons for The Profile Magazine
SAINT LAURENT for Profile Magazine
Dries for another magazine
SHOWstudio - D&G
SHOWstudio - Kenzo
List of interesting and relevant websites given on project brief:
"Maurizio Anzeri makes his portraits by sewing directly into found vintage photographs. His embroidered patterns garnish the figures like elaborate costumes, but also suggest a psychological aura, as if revealing the person’s thoughts or feelings. The antique appearance of the photographs is often at odds with the sharp lines and silky shimmer of the threads. The combined media gives the effect of a dimension where history and future converge."
"We are used to viewing a photograph as an end result. But what if a photo is used as just the starting point of another creative process? Is it still a photograph?"
"The Italian-born, British-based Anzeri searches out vintage portraits in flea markets and junk shops, viewing them, he says, as landscapes on which to map out his own unique geography of suggestion."
"Sombre-looking children and sophisticated adults take on an absurdist aspect. The people pictured all but disappear in the process, becoming shadows or outlines beneath the lines. What was once a portrait is something else entirely: a formal, sculptural, diagrammatic artwork in which identity and expression is camouflaged."
I think Maurizio Anzeri uses thread in a really interesting way. Thread is something which is usually associated with craft, and has quite nice, homely connotations. However he has used it in a way that makes his work sinister and unnerving.