Second attempt at Group Collaboration Project
Group Project Collaboration
Our final short film based on the progression of life and how as people we grow throughout; revealing ourselves and our identity's. For example, the scrunched up ball off paper has wool coming off the edges when pulling the wool it slowly unfolds showing how we are constantly learning and experiencing new things. To improve this film I would have continued to pull the paper so it begun to rip showing how sometimes life can give you difficulties.
House Of Illustration - Exhibition
This was the first exhibition I have been to based purely on illustration and it was great to see a huge variety of drawing work from different eras in one place. This motivated me to really look into other ages and cultures of drawing as it may introduced me to other techniques and ways to use ink; a material which was in the exhibition a lot.
Balenciaga Exhibition v&A
When visiting the Balenciaga exhibition at the V&A this bulging green dress in particular caught my eye. The bulges of fabric which drape outwards then get synched in at the waist and legs look surprisingly flattering on the mannequin. This surprises me as I would originally think that any excess fabric would make the wearer look bigger. Comparing this garment to Balenciaga’s most recent collection there is not much similarity in the silhouette but the layering/draping of fabric is similar ( image 2 where layers upon layers of coats on top of each other) Therefore adding more fabric but still gives a nice shape.
Comme Des Garçons Exhibition v&A
The voluminous frills and curls of fabrics layering over each other create a garment which does not cling to the body but still follows its movements. This juxtaposes with the tight fitting leather mini dress underneath actually restricting the wearers movements in some parts of the body.
Dover Street Market
I think I was instantly drawn to this garment because of the extreme aura and sense of darkness it gives off. To me, it gives of this certain feeling because of the round deep black balls that have spikes poking off them this way if you go near the garment; it would hurt and you want to stay away from this. I also think that the headpiece stuck out as it looks like a complex textile element and because it has that pop of colourI am normally drawn to.
Dover Street Market - Visiting
When visiting Dover Street Market I loved how the layout of garments was shown. Therefore for people like me who cant afford designer clothing you can go up close to the garments; see the techniques and colours not just from the screen of my phone.
Fashion Illustration Techniques, Maite Lafuente, Kings Cross Central Saint Martins library
This fashion illustration I personally don’t like the shape/silhouette of the body but I love the overlapping squares patterns to fit into my fashion illustration style I would have this In only part of the drawing actually going over the silhouette and not confined to the lines.
John Booth
John Booth has worked for Zandra Rhodes, John Galliano, and most recently has been designing print for Ashish. Booth’s practice uses collage technique, experimentation with line, embroidery and textile manipulation. The idea that an illustrator could also do print design just shows that the composition and layout of his work is very current still to fashion trends which excites me.
Image Resource: http://showstudio.com/contributor/john_booth_john_booth
Anne Wilson
When reading about Anne’s work I find it interesting how she uses everyday materials like table linen, bed sheets, human hair, lace, thread, glass, and wire. Something which everyone could acquire and relate to themselves each in their own way. Human Hair in particular is an interesting material which I often forget but could create some interesting samples and connotations. The only way I can describe this work in my own words is a minimalistic chaos.
Image resource: https://www.annewilsonartist.com
Paper Folding Designs, Keisuke Unosawa, Kings Cross Central Saint Martins library
Inspired by the work we have done with paper and creating garments from these materials I was fascinated by this book. The small squares going into one and another look like a vortex however I am not sure where this would work on a garment. To solve this problem I could experiment with scale making smaller squares for jewlerry or making it huge to turn into a skirt.
Helen Bullock
“Helen’s work is full of vibrance, energy and spirit. ... She is a true creative force and produces work with a beautiful timeless quality”.
From : Julie Verhoeven
Helen Bullocks work is truly inspirational for me because it shows that you don’t have to be a completely accurate drawer to be a successful illustrator. I love the vibrant colours and how she stylised the people to give off the impression of the type of garments they are wearing.
Image and quote Resource : http://helenfashionscribble.tumblr.com
The Cutting Edge, Fashion from Japan, Kings Cross Central Saint Martins library
This garment above by Comme Des Garcons is called “Harley Davidson Ballerina” and instantly reminded me of the paper garments we made on Monday. The way the garment is shaped and stitched with contrasting white stitching it looks like each piece of fabric has been connected seam to seam. I love this technique we learnt as it pushes your mind to think in a much more 3 dimensional way.
Clare Knox Bentham
“I am interested in the concept of turning drawings into three dimensions using an industrial process of heat extruded EVA that I ‘draw’ freehand with. This process is unique to me and creates exclusive, one-off pieces of work. I have also used this material and technique to create a jewellery collection, which has been described as resembling a series of drawings for the body. The saturated colour and slippery surfaces allude to precious lacquerworkwhilst fluid forms blur the line between liquid and solid.” From Clare Knox-Bentham
Image and quote resource: www.clareknoxbentham.co.uk
I chose this pink floral necklace image because I loved the vibrancy of the pink and orange; consequently I wanted to find out more about the material Clare used. I also would wear this necklace myself because the variety of sizes in flowers on this necklace looks like a bunch of flowers; a much more eccecntricway compared to them just being in a row on a chain.
'Wrapping Paper' By Elsie Few, 1977
I wanted to find some artists who work with paper because this has become a huge part of my working medium throughout the week. I selected this particular piece by Elsie Few firstly because of its name' I liked that this piece resembled the complete opposite idea of what I have in my mind when I imagine wrapping paper this surprised and intrigued me. This relates directly to my project for inspiration on collage and how to collect paper as this artist used wrapping papers she had been given or found.
Image and Quote Resource link:https://www.tate.org.uk/art/artworks/few-wrapping-paper-t03286
Alexander Mcqueen : Savage Beauty. Metropoliton Museum of Modern Art
The silhouette in this piece is insane; I love the contrast from waist to hip; its signature shape is created from tight pleats going downwards on the waist which I could re-create with paper. However this is a much more controlled shape if I wanted a more unique shape I could create pleats before draping onto the body instead of after.
Hussein Chalayan
“I suppose I start with political and emotive issues, and then intellectualise them in my own way and turn them into visual things. I hate the idea of being labelled ‘cerebral.’ At the end of the day I’m really interested in form and shape and the body and cut. People don’t buy a dress because they like the inspiration behind it, they buy it because it looks good on them, they like the way it makes them feel. The inspiration is only there to trigger the process.”
From:HussainChaylan
There are a few areas from this quote that interested me and makes me want to analyse it further. Firstly, the word cerebral means to me that you think with your head not your heart and go against facts or evidence. Therefore he takes his research in quite a liberal way looking at how this would work on the body and composition not as much with what he is feeling. This is quite a cut throat way of thinking which is very different to many designers in the industry at the moment and this way of thinking shows in his garments. Another area for discussion would be about how inspiration is only there to trigger the process’ I actually agree with this statement and think that if you get too caught up with your inspiration your collection would be less focused.
Quote and Resource link: https://www.pinterest.co.uk/offsite/?token=542-296&url=http%3A%2F%2Fkimfulton99.blogspot.com%2F2012%2F10%2Fhussein-chalayan.html&pin=528961918704347834&client_tracking_params=CwABAAAADDc0ODY4NjAwNjg5NgA
Pattern Magic 2, Tomoko Nakamichi, Kings Cross Central Saint Martins library
When browsing through the pattern magic book this particular sample intrigued me the most because it was one that I understood and was initially made from paper. Therefore, this was a shape which I could re-create myself in the paper garments we continue to create throughout the week.
Yohji Yamamoto
You can see the Japanese designer's expertise in draping, deconstruction and avant-garde silhouettes from these pictures which reflect his liking for exaggerated shapes. If a designer was not an expert in pattern-cutting and construction I believe they would find it difficult to create anything purposeful.
Yohji Yamamoto
Yohji Yamamoto’s work to me is very much about the draping and how the fabric fits the form of the body. Therefore I was quite surprised when scrolling through images that this purple dress had a large hat on the top. It makes the garment seem quite comical and as if the designer is ridiculing fascinators In general.
Resource link: https://www.businessoffashion.com/community/people/yohji-yamamoto
Comme Des Garçons
These three images below particuarly interests me for similar reasons. They all have a layering of white and beige fabrics which create a plain canvas on the garment for textures in fabric to really shine through. This interested me when researching because anything that has layers of fabric and texture all interact with the body in a different way.
Resource of image 1,2 & 3: http://www.comme-des-garcons.com
Resource image 4: https://shop.doverstreetmarket.com/comme-des-garcons
Issey Miyake
"With your imagination you can wear (them) from the morning to night,”
From: Issey Miyake
When reading this quote it reminds me that even though Issey Miyake’s garments are super experimental he is constantly thinking about their practicality throughout the day. This gives me another perspective on the ways he uses his own technology in design. For example, his ‘garment pleating’ process is used on his jackets which creates architectural structure but still gives the garments both beautiful forms and functionality.
Recources link: http://mds.isseymiyake.com/im/en/work/
Quote link: https://www.youtube.com/watch?v=-ukvf9sjki8
Alexander Mqueen
Initially I was drawn to this image by the magical sequins which seemed to cover the body like a paint brush stroke. When I began to look closer into the image I noticed how lots of the skin was actually revealed this surprised me as initially I thought this was a mesh skin coloured fabric. The way the sequins are applied to the body is a unique line adding a focal point of engrossment instead of just a simple straight line with no quality.
Resource images : https://www.pinterest.co.uk/pin/79376012159691355/
Alexander Mqueen
"Lee often said that you had to learn the rules to break them. In designing and creating garments, you need to learn and research on construction and techniques before you can produce something truly modern, contemporary and innovative. Knowing the past is probably key to building the present and future."
Sarah Burton, Dazed & Confused Magazine, November 2013
I noticed in the image below the strong silhouette of the body a shape we never normally seen blocked in as a 2D shape. This has given me the idea to do some of my own drawings of just silhouettes to see the outcome I get.
Resource image 1: http://www.thefashionspot.com/buzz-news/forum-buzz/797149-alexander-mcqueen-fall-2018-ad-campaign-shanelle-nyasiase-rianne-van-rompaey-vittoria-cerett/
Resource image 2: http://www.instahu.com/jamie.hawkesworth
Cristian Dior
This garment from Diors 2007 Couture runway particularly caught my eye as the brown fabric reminds me of the brown packaging paper this is because where the fabric has folded a slight sheen shows up. These folds also give me the impression that the fabric is quite stiff and has a crunchy texture. This is significant because a stiff garment would restrict the body another way restrictions are shown in this image is by a corset. Now I could research further into garments that have actually been made out of paper and compare the differences.
picture 1 resource: https://www.pinterest.com/pin/542543086329322339/
picture 2 resource: https://www.vogue.co.uk/gallery/christian-dior-by-patrick-demarchelier
Pierre Cardin
Pierre Cardin has a very avant-garde and futuristic style this is something you can see from his designs and the way he styles his designs in shoots. I love how he ignores the female form which is still very new for many designers; instead looking at shapes. This is an ideology which fascinates me and I would like to explore further with my own work. An example of doing this is from my paper garments to the left. Described as being “experimental, and not always practical”.
Resource for images: https://pierrecardin.com/designer
Madeleine Vionnet
Defined as the "architect among dress makers" and her house known as the "temple of fashion" Madeleine Vionnet was a very influential designer in the early 1900s with terms of draping and modernising women clothing. She freed the body from corsets making women personalities and lives the centre of fashion. Showing a personality in clothing may seem difficult but Madeline Vionnet created garments that clung to the shape of the body, with a fluidity that echoed its movements. Madeline invented the bias cut , “coup enbias” using long cuts of crêpe, crêpe de chine, gabardine and satin on mannequins measuring 80 centimetres– half the size of an average body. Her most recent collection which featured weaving samples I connected to the most because textiles samples incorporated into exquisitely cut draped pieces create an ultimatum of worlds squished into one body form.
Resource of quote and images: http://www.vionnet.com/madeleine-vionnet