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"fashion" Tag


unexpected tv crush


Thursday, April 28, 2016

switching from one tv program to another, my forefinger suddenly stops. it does not press the “+” button of the old remote control anymore (i already forgot how to use this device in the 21st century) an unknown woman on the screen catches my attention. she has wavy, dark hair, a symmetrical face with a sharp nose, beautiful lips. the tv-host asks her questions about her preferences in men (it is a dating program for adults) she carefully listens to the questions and time-to-time gazes into the screen figuring out the answer. her gaze magnifies me.

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she lives in 1996 and her name is natella. her girlfriends trust in her and can feel safe leaving their boyfriends with natella for a while. they know that she is not going to “steal” them. natella believes that a man sometimes should sacrifice his life for a woman. if a guy lives in a messy apartment – she would help him clean. being a housewife for her is boring. at an earlier state her desire was to become a man, but later became proud of being a woman. when she came on this tv-show, she intuitively felt that she was going to find her real love there. and who knows, maybe she did.

 

this is all i know about her. this is everything i could get to know from her.

 

i was thinking a lot about her and her incredible beauty. what was there that caught my eyes and stopped from surfing further around dozens of other stupid tv-shows. i believed there was a story behind her. or i wanted to believe in her/my own story. i began to fantasize…

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there is something flower’ish about her curly hair and her curly nose. she is intelligent and wealthy. good-mannered and cool. but being a “good” girl would be too boring for her. she has a very cold mind and a wrong taste in man. at least, i think so.

that makes her sad and melancholic every day. a man can never know when she leaves. or would she forever? her eyes are dark and they shine. she can have some fun with me today if i could only give a try.

she would rather prefer to sit in silence in her screaming room. or go for a long walk in the dark, lonely woods. she would never change herself because of a man. she would never try to change a man.

the more i look at the screenshots of her, the more i get into her hazel eyes. what are her fears? what was her childhood like? does she has a dark secret? what is she hiding? some old, dark secret which she keeps silent. she would never tell it to anyone, especially her man. it has an enormous power. a tremendous destruction. i am afraid of this secret and do not want to know it anymore.

 

she is a bird in a cage = a fish in an aquarium.

 

the trees are her only friends. nature is her shelter. she is a mysterious life observer and knows more about you than herself. her mind is chaotic and layered – ancient and shamanistic powers lead it. her name is natella. she comes from georgia.

there, where she comes from, the black sea meets the caucasus mountains.

there, the bright mountains and valleys are shared with god.

there, bloody red is a colour of a new beginning.

there, people are passionate types with strong feelings of devotion gained from the powerful sun.

there, people are vulnerable as pure blue shadow and they know how to control and hide it.

there, people are warriors of their solitude.

there, you can fly in the savory air or levitate in the wisdom of great waters.

there, you can be free and caught in the same time.

 

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niko pirosmani. he has the most sensitive ways of describing georgians in his great paintings. religious pale faces, indigo skies, women in shawls, men in long dresses, tired and resting pets, cold gestures and poses, almost invisible yellow seeds of sun and red scars of routine.

 

that is were i took my colours for her.

 

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complexity of circles and dots on the buds of the ‘caucasian rhododendron’. its invisible pink. grotesque and strong lines of the iris iberica. scaring wisdom of the ’haeckel chiroptera. endless legends about the mountains growing out of the black sea. extravagancy and chic of the ‘caucasian pheasant. colourful elegancy of the rainbow trout.

 

that is were i took my shapes and tactility of her.

 

i collected everything natural i could find around me and began to recreate her in the form of a headpiece. i wanted to get inside of her skin, inside of her world, inside of her story when i put it on me/someone.

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i was looking for authenticity in the reconstructions of traditional georgian shawls. i was making garments and textiles out of horse hair, pine cones and branches. in parallel with material try-outs and sketches i was searching for the way of making a kind of an armor for my heroine. because she is an absolute warrior. but she also loves to hide – her feeling, emotions, thoughts. she needs to preserve and cultivate everything inside of her.

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i learned how to make a textile piece out of dish washing metal sponges. i also combined synthetic threads with wire in my glasses and earrings. i started to construct my piece by adding more and more layers. all the time it was not enough and soon i understood that one piece gets too complex and that i should continue my project in creating two separate concepts/designs. so, my idea does not get too messy.

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the black sea. how can i show her connection and devotion to the endlessness and power of the black sea? she is my aphrodite – feminine and warlike at the same time. she i free and bubbly as foam. she is fast and moving as the stream. she is dexterous as a fish. she sometimes gets caught in the fisherman nets. and than she becomes the most precious thing in their old grumpy hands.

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in total, the finished piece consists of four garments which get attached on the top of each other. the first layer is an entangled pattern which reminds of green sea weed usually thrown up on the coasts. it is always very tricky not to get in it while you swim. it is always cold and slimy. the second layer is more generous and floaty which refers to the sea waves – enormously strong and soft. the third layer which is attached on the ears symbolizes fishnets.  and the last top layer positions on the head and returns to the foam which always floats on the top of the water.

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after finishing this piece i felt like i have something more to say and investigate in my heroines world and personality. somehow she was still unreachable. i could not forget her and not let her go.  i was still not satisfied with the result and wanted to dig more and deeper.

 

the caucasus. in the following step my passion for not organic materials was increasingly bigger and broader. i payed more attention to the choice of colours and creation of the facial-related garment. i went back to the transparent volumes and traditional georgian head-wear and masks. the new look was totally dedicated to earth, mountains and the caucasus.

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i combined the transparency of woods, plants and branches with solid shape and colour of the naked body. formless threads and tactility of checkered, dotted materials. my main focus was on lines, stripes and their intervention. i also went deeper into the possibilities of wearing/holding the piece on the body. some garments can be hold only between squeezed teeth – some are clamped between the body and the arm.

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the new materials and concept finally gave my work the possibility of letting people experience my heroine. how it actually is to be in the skin of natella? what are her dreams and fears? how does it feel when she has to squeeze her teeth without letting her secret out? how can she live with that? or how does it feel to keep yourself focused on the others when you hardly perceive the image of the world around you, under the formless shades of narrow masks you invent. to hide, to be hidden, to be masked underwater, weaved in the landscape and faded away…

Tabula Rasa


Wednesday, June 3, 2015

rei-kawakubo copyConstant_Nieuwenhuijs_(1974)

 

1. Rei Kawabuko

 

Rei Kawakubo is a Japanese fashion designer. She first studied fine arts and literature at Keio university but then later thaught herself how to design and started making clothes under the label Comme des Garcons. In 1973 she incorporated it as a company. Soon Comme des Garcons became a label preferred by the Avant-garde. Kawakubo designes clothes with a modus operandi more familiar to conceptual art than to fashion.

 

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Rei Kawakubo
and Yohji Yamamoto,
1983

 

During the 1980s, her garments were primarily in black, dark grey or white but later more colors were added. The materials were often draped around the body and featured frayed, unfinished edges along with holes and a general asymmetrical shapes. Comme des Garcons is often referred as anti-fashion with their austere, deconstructed garments and the focus is more on the three-dimensionality of shapes and not so much on the surface and finish. By all these means Kawakubos designs challenges the traditional notions of beauty in fashion.

 

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Rei Kawabuko,
1997

 

In 1997 the spring/summer collection was an ironic commentary on female vanity and advertisements for cleavage enhancing bras and figure sculpting thights. These designs suggest that the mind no longer need to submit itself to the dictates of conventional notions of beauty, but it is free to find it where it will. Also that beauty may not reside in the places what our culture suggests but more in our own imagination.

 

What is beautiful doesn’t have to be pretty

Rei Kawakubo

 

Working together with other professionals like photographers and architects their approach in fashion is very collective. Kawakubo wants to be involved in all aspects of her business like photography, graphic design etc.

 

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Ensemble
Rai Kawabuko
1997

 

Ensemble is a top and a skirt from collection Body Meets Dress, Dress Meets Body. It is made of cheesecloth stapled together in layers of pattern sections. The sculptural silhouette and the complex piling reflects Japanese ideas about the garment, which is seen as a construction in space. Here the garment is an autonomous sculptural object and it is no longer dependent on the shape of the human body.

This garment was part of a exhibition in Booijmans museum under a theme: Tabula Rasa. I think Kawakubos design fits quite well to the theme because she has been quite groundbreaking in her field by challenging the traditional idea of beauty in fashion.

 

2. Constant Nieuwenhuys

 

Constant Nieuwenhuys (1920 Amsterdam – 2005 Utrecht), also known as Constant is dutch. He is a painter but he touched other fields such as sculpture, music and, what interests us, theory and architecture.

His brother Jan Nieuwenhuys, who was born a year after him also became
an artist and their paths are closely related as they founded together with Corneille, Asger Jorn, Karel Appel and others the Experimentele Groep in Holland in 1948. It is important to mention that all those people then took part to the CoBrA movement which we all know and which was a period when Constant painted a lot and a lot of beautiful paintings.

 

Constant

Constant Nieuwenhuys
Maskierte Ungehorsamkeit
1948

 

Constant took part to the theorizing of CoBrA. In Wikipedia I found his theory resumed to six points, I translate it here.

 

– Realism is the negation of reality
– Who denies hapiness on Earth denies Art
– No good painting without great pleasure
– Civilization admits the beautiful to excuse the ugly
– The best painting is the one reason cannot admit
– Imagination is the way to know reality

 

After CoBrA, he briefly joined the revolutionary Art movement International Situationist (from 1958 to 1960), led by Guy Debord, between others. Asger Jorn was there as well. This part of his life is really important to understand his work New Babylone.

The International Situationists were influenced by Marxist thinking and wanted to end the class society and the merchandise dictatorship. Their thinking is well explained in the book Society of Spectacle Guy Debord wrote in 1967. Guy Debord is an important character to understand New Babylon because in 1956, he theorizes the Derive in his text La theorie de la derive.

 

One or several people experiencing the Derive are renouncing, for a laps of time more or less important, to the reasons to move and to act they generally know…

– Guy Debord, Theorie de la derive, 1956

 

societeduspectacle

Image used for the cover of one of
Society of Spectacle editions

 

New Babylone was supposed to be called Deriville. It is a utopian city in which the defaults of capitalism (and of society of spectacle) does not exist anymore. In this sens, it fits very well in the Tabula Rasa theme.

 

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Constant NieuwenhuysNew Babylone
1966

 

3. Tabula Rasa

 

Even though the history and works of Constant and Kawakubo aren’t similar, they work in different fields, different puposes and connections are hard to find, we see that in those both particular works, some interesting aspects can be joined.

 

The first aspect is the use of architecture thinking for works that are not only architectural. Kawakubo, in Ensemble, thinks the garment as a construction in space, which means that she works with the object but also with the void it creates. Ensemble is a garment created using architecture.

Constant tries to build an utopian city, he has no choice but using architecture (he also made some beautiful models of New Baby- lone). The sketch we are talking about can also be seen as a piece of Art because the city was never built, it was only a big project that, I think, even Constant himself did not think he would see become real. New Babylon is a piece of Art using architecture.

 

The second aspect is related to the idea of Tabula Rasa. As we saw, Constant relation to it is quite obvious, he wants to built a new city for a new kind of human. In other words start everything again.

Kawakubo, in her garment, tries to challenge our traditionnal idea of beauty and to find new aesthetic values. We saw in Ensemble that the garment becomes autonomous from the body form an can be seen as a sculpture too.

 

 

The World in the Computer


Thursday, November 27, 2014

 

‘By presenting my designs not only physically but also digitally, new dimensions are created to strengthen the experience of fashion.’ (Jacob Kok)

 

The reason I chose Jacob Koks 3D work – evolution, (animated movie by himself and the software developer Autodesk), was because of the way it was presented  as a video made in a computer program. The use of media and what it allows you to do with gravity and form in this animated short film is for me very interesting and relevant for the art and design as it develops today.

I think the title of the exhibition “ The Future for Fashion is now” indicates that; we should use all our technologies and experiences we made so far, in the work of art and design today.  For me the technology that is created is not so far mentally reachable, as it may be for my grandmother, but still it has gone to a level of complexity that can be hard to follow for everybody.  I grew up in a generation where computers still was a “new” thing. but at the same time still very much existing. I grew up with laptops mobile phones , as an everyday- kind of object. It is therefore extremely relevant, to also include these kinds of objects in our art today.

In Jacob Koks – Evolution, he is working in this “second world“ where space limits and rules of gravity does not exist. He can play with shapes and fabric, as he likes. In the video shapes of clothing and body parts have it’s own rhythm, in the sense that it does not follow the natural movement pattern of what that kind of object, is supposed to do. The pictures is overlapping each other, making one shape or one figurative person floating over to another shape or person, creating a new walking, and idea about what clothing is and can be.
He started out with catwalk videos, mainly because he did not have the money to create collections and also to get them in production; he used his budget on the catwalk sample and didn’t have money to make more. He “crowed founded” his first collection, but he brought up a subject, for him and the rest of the fashion industry to work at.

That’s where he “reinvented himself as a designer” put in his own words, but he also questioned the very materialized fashion world, which I find very interesting. Making the fashion virtual he was not only manipulating with body shapes and fabric, but also he dematerializing clothing in fashion, by doing so. He was able to, in a very experimenting way, to expand himself as a designer in a digitally media, but also making himself able to save some money to make his art/fashion real.

A lot of catwalk clothings is only made for inspiration, which gives the designer a lot of money to spend, without selling /earning anything. I think in the use of digitally media in the fashion industry like Jacob Kok does it, is a big inspiration for other upcoming artist in this field.

Later on he cooperated with the Sims 3 Game, which also gives a whole other perspective to his work.

The Sims game is a virtual game where you create a world of your own. You simply make the figures by selecting their looks, from everything to eye colour, hairstyle, clothing, to personality interest and goals in life.

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Create_A_Sim-sims-2

When you made your characters, you can buy a property and then you start building. There are limits for your house building, as it is in real life, so you have to be patient.  Your characters have to go to work to earn money; they have to be stimulated mentally with having friends, hobbies love life and carrier.

You have to fulfill these desires to collect points. In this way the game can go on and on. It does not end. This game has sold over ten million copies worldwide since 2009 release, making it one of the best selling games of all time.

I believe the game is so popular because it works with the simplicity of life, it is like a recipe for how a “normal” life can look like, and you are the controller. In a world where young people are so confused about all the choices they have to make. The Sims game actually makes the player successful, almost no matter what, and if not, just start over.

It’s a game for both girls and boys maybe even some adults, because it is reflecting our own way of living. Maybe even questioning, our way of living.

When Jacob Kok is using these references in his work,[x] it could associate with a feeling, for those who knows the game, that their have control over their looks and behaving and in the end, control over their life. The game is creating a feeling of being more successful as a person, in a world that can be very confusing to live in.

Of course other artist/designers has explored this area of what the digitally media can give us.

Wade Guyton is a post conceptual American artist [x] who makes digital paintings on canvas using scanners and digital technology, but there is also artist who specialize in digitally artworks, that also plays with this virtual external world which computer games is presenting.

David O’Reilly is an artist working in the field of 3D animation movies, he is known for the distinctive absurdity of his work. In his work “External world” He kind of gives an example of how the absurd the world is. The theme of the whole film could be how people are scared of things that are new and maybe more specific about how things are rejected, if others do not understand it. The film is criticizing a lot of things, also the fact that animation movie is allowed to present violence  without being taken serious.

The relation between the two artist, is both the media but also how they reach their audience, by creating a space with no rules, a space that have no end and a place where we can create and do whatever we want.

O’Reilly is seen as one of the leading 3D animation artist, which has like Jacob Kok, is dealing with the human role in the world, by using 3D animation.

Jacob Kok works both inside and outside the media, by using The Sims, and catwalk animation movies as (Paradise) he is not only interested in fashion, but also have a background an interest in animation. His start point was not to only work in one media he once thought he would make music videos, because he felt that he in his work was embracing more visuals and music together, than separate (you can easily see this affection in his work; official trailer for his spring/summer collection) He is uniting several of his own interests in fashion/animation/ music, to make a new perspective to fashion and his artworks.

O’Reilly is working as an artist in digital form, Jacob Kok works with fashion and design and needs real time to exist, were O’Reilly only works in the virtual world. He doesn’t claim his works, but put them on the Internet for everybody to enjoy. Which I think also is an interesting point. Jacob Kok is also using this method to expand his works, but not as absolute and clear as O’reilly does it.

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Something that I also find really interesting, is when artist use more than one skill, the combination of interest and competence is inspirational, personal and very true as an artist.  I think both of these artists are connecting very convincing and beautifully, a personal and new, perspective in the fields of art/fashion/animation.

FC11ToekomstVanFashion_MediaMatic

The invisible fashion


Tuesday, November 25, 2014

I am not really into fashion so I didn’t know what to expect during the exhibition and even by looking at the website of The Future of Fashion is Now I had no clue whether I am gonna appreciate this kind of art or not. My fondness for Adele Varcoe started when I visited the exhibition. It was divided into 3 parts and it was the last one which seemed to me totally unclear and thereby intriguing. Ironically it was precisely this part –New Values and New Stories– in which I found this  amazing artist who is taking fashion into a higher level, looking at it not only as an outfit but more as a factor indicating our behavior.

Adele Varcoe is an Australian artist. She is not strictly a fashion designer but her works are directly lined with fashion. She is creating experiences which are suppose to show the social effects on clothing. Adele is mostly constructing group performances in which she brings people together in order to explore the elusive nature of fashion. She wants to outline the sense of self which is heightened through the clothes.

Imagine Chanel

While making her performances she likes to mix the participants, working with artists, models but whats mostly important with the public. She is interested in revealing how fashion influences the interactions and relations between people. Adele often uses the quote “perception of dress” which in her opinion is the subconscious behavior of the society depending on what we wear and in what situation we are.

The performance which I saw in the Boijmans exhibit and which invited me to learn more about Adele Varcoe was the salon fashion show Imagine Chanel. It was in 2012 when she came up with the idea of presenting fashion experience through language. She used the descriptions of garments from 1920s till 1960s Chanel archive at the Victoria and Albert Museum and the Powerhouse Museum as material to reveal the role which our imagination plays in looking at fashion. The main goal of this performance was to highlight that fashion is not something that exists as dress only. The fashion show is led by a woman reading the descriptions of Chanel outfits while nude women circle between the audience acting as they were wearing all the precious, described cloths. This situation gives the audience a broad field where by using their imagination they can design their own clothes worn by the models.

03-Adele-Varcoe

Adele’s concept is based on the professional opinion of a sociologist Yaniya Kawamura [x] who claims that : “Fashion does provide extra added values to clothing, but the additional elements exist only in peoples imagination and beliefs. Fashion is not visual clothing but is the invisible elements included in clothing”.

Here comes the link between her work and the name of the third section of the exhibition: New Values and New Stories. I am really fascinated by her way of thinking. It looks like if she is taking a broad working space which is fashion and approaching it from a totally unconventional side. I think the point of conceptual art is to influence the audience and show them something which is not obvious. Working with subconscious behavior and reactions upon “invisible fashion”, Varcoe is putting new values to clothing which is actually our second skin changing our behavior and social interactions.

Each of her works is often closely connected to the broad area of fashion sociology. It is claimed that in fact, fashion is not about clothing but more about the basic process that propels modern life, and it is the outfit which structures the psycho-social development of a modern person.

A similar  concept was to be seen in Varcoe’s other exhibit in the Boijmans Museum called ” Feeling of undress”. This movie was even less about fashion itself but more about the social behaviour and human interactions.

Some other sociologist like Georg Simmel states; ..” that fashion refers to a general phenomenon, in which it becomes a type of social horizon point where the individual interest and taste comes across the collective”. He once wrote “Fashion represents nothing more than one of the many forms of life by the aid of which we seek to combine . . . the tendency toward social equality with the desire for individual differentiation and change”.

I think after experiencing her art or being part of it, we start to realize some behaviors and actions which are natural for us but we can never see them consciously. Varcole gives us an opportunity to set aside our subconscious actions and observe how the natural behavior is chaining depending on what situation we are in.

I think the most interesting part of being an artist is to use your creativity and open minded thinking to show the audience something new, in this case something totally normal but not realized in everyday live. I think its also interesting how she links the scientific knowledge in the area of sociology to play with the human mind and gives people the opportunity to experience and then realize the way of human behaviors by taking part in her art performances.

#wow


Sunday, April 6, 2014

#interesting #easytofollow #slowfashion #slowcouture #painted #fashioncollective #processing #newfashionideology #slower #sublimitedfashion #wellwritten #spendingtime #takingtime #doingnothing #importantnothing #reflecting #understandable #makingbyhand #inspiring #bulgarianneedlepoint #timeisgold #nomultitasking #notime #forgottentechniques #hybridfashion #meditation #japanisetradition #repairclothes #workshop #brokenclothes #makingnew #startingagain #somethingdifferent #notcategorizing #ontheedgeoffashion #nocatwalk #nocollections #notrends #work #constantchange #fragility #history #inprocess #manydesigners #garmentgrows #noplans #collaborativefashion #story #handmade #value #questioningmoney #timeinvestment #imformative #links #endwithmusic #personalexperience #balanced #explained #2013 #research

#rediscover

#fashionwithagoldtread

 

Maxell 90 Gold


Thursday, March 4, 2010

For me sound is something mysterious, because I’m deaf. during my childhood I was fascinated by music cassettes (casette-bandjes). People love these things. For me it was hard to imagine.
Something coming out of the cassette that I couldn’t see.
some more interesting elements:
– gold/black – variety volume of lines – symmetrical holes – two hole with teeth – rectangle with round corners – easy to put in pocket – parallel lines–

scale drawing “make invisible visible”

final presentation

Exploring the possibilities for translating the idea into a product brought me to a new space for viewing the designwork. I fell in love with the PET-foamboard material and thin woods. I could change the shape and lines (movement).
During the translating I solved the technical problems/errors that I couldn’t see in my scale drawing. I had to wear the showmodel glasses in order to solve these problems and find the right shape (nose-holding, hinge and degree angles).
I’m happy with my first design product translation from the (inaudible) cassette-band and I don’t mind wearing it.

sculpture in space on figure in future


Sunday, January 24, 2010

In 1913 Victory over the sun was firstly performed in Moscow. From aesthetic perspective, it was Malevich who was responsible for the costumes and decor, we may recall upon this happening as the start of Suprematism.
In 1920, this time directed by Malevich, the opera was performed again. During this period El Lissitzky made his lithographic designs for the nine figures from the opera. Instead of costumes he designed electromechanical puppets. Puppets that would be controlled by one person. Lissitzky deliberately left this concept at the stage of the lithographies, as he had made his mind up that he wasn’t going to be the one realizing the project. “You can do this”, was his vision.

In terms of fashion, there are many ways to encounter these designs. I myself encountered three major elements that can be related with contemporary fashion: technology,expression and giving emphasis to -suprematist- shapes by utilizing them in a different context.
The use of electro mechanism could have easily inspired the work of Turkish designer Hussein Chalayan. This element comes strongly back in his 2007 spring/summer collection, used as a tool to transform. The remote control dress as an interesting outcome of the same mentality.

Dutch designer duo Viktor & Rolf greatly succeed in establishing moods and characteristics through their designs. Making these -invisible- elements visible and more importantly visual. A resemblance that goes up for every figure from the opera designs by Lissitzy.

British designer Gareth Pugh touches on these elements too, though in a more abstract way. Abstract in the sense that clothing no longer hold on to the outlines of the human body, but -form wise- is completely free to go into any directions. Great representatives of these elements are Japanese fashion designers -or rather fashion sculptors- Issey Miyake, Rei kawakubo and Yohji Yamamoto.

The Fashion Student


Wednesday, October 14, 2009

Joshua Enker

This research started with a very different subject; Lucas Ossendrijver, a Dutch fashion designer who’s currently working for the French high fashion brand Lanvin. What fascinated me was the big difference between his appearance and the clothing he designed! Which raised the question; why does this differ?

To be able to have an answer I started looking somewhere else; the fashion students on the Gerrit Rietveld Academy. I made a list of question I though would get the students to explore what they though would be the main difference in their own work; and I also collected photographs of the specific students and their work. This way creating a sort of almanak or small book about the fashion student and his or her clothing.

It is an ongoing project; which means that I will ask more and more students to answer these questions and collect their pictures. (I will add these to an updated version of the PDF at the bottom of this post) Like this I will create a more complete, more whole view and a more accurate answer to my question;

What’s the link between what the clothing designer wears and makes?

pdf

Folklore nowadays


Wednesday, September 16, 2009

conjoining bodies


Thursday, January 22, 2009

Here the assignment “make a connection” became the inpiration for some reasearch on how to change two bodies into one. How to become a siamese twin. It is interesting to see the new shapes the bodies make, recognizable but totally new.  This project posts questions like; what would fashion look like if the human body was formed differently and how much can fashion form our appearance. It is interesting to think about what effect clothes that conjoin two people would have on our behavior and relationships.


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