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Friday, April 30, 2010

Floaty Fishy Things

For some odd reason I have been thinking a lot about things that float.  Ducks, parts of dolls,oil, wood, leaves, bubble wrap, lucky people with better buoyancy than myself ... and the list goes no.  I'm not exactly sure what prompted these thoughts but unfortunately for me the list is almost never ending.  So when I stumbled across this stunning editorial for Vogue Nippon with styling by George Cortina, photography by Sølve Sundsbø I was most excited to add the ethereal model Alla Kostromicheva to my list.

The shoot itself is beautiful.  While underwater scenes are not new in fashion photography they often work to capture a really interesting quality in both the scene and the garments.  I think what has worked so well in this instance is the other-worldly feel that has been given to the shoot.  In each shot the texture of the garment could be that of a sea creature and in hiding her hair and ears, she becomes something non-human herself.  There's a beautiful eerie atmosphere through the whole editorial that is tied together so closely through texture, colour and weightlessness and the mix of vulnerable, protective, fetal, and almost dead or lifeless positions that she is captured in throughout the series.  Sundsbø and Cortina have been so succinct with what they wanted in this editorial and the result is highly successful.  I have fallen so in love with it that I couldn't choose favourites and had to post them all.





























'The Girl From Atlantis' images at http://papermode.cyanatrendland.com/

Thursday, April 29, 2010

Marnie Skillings Spring/Summer 2010


New Zealand beauty Zippora Seven.

Yesterday was the Marnie Skillings Spring/Summer 2010 show 'Lady.Nimble.Shadow' ... and what a show it was.  Nestled away in the Royal Botanic Gardens Marnie and stylist Emily McGregor set up a stunning scene for the event complete with an array of quaint vintage outdoor chairs, old books, posies in glass jars, hanging birds nest ferns and a happy crowd of well-fed, well-watered and well-dressed Skillings fans.

While I could sit here and tell you how amazing the collection was (which it was), and how fabulous the hair and makeup was (which it was also) and of course how wonderful the models were I think the really amazing thing about the Marnie show was just how much work was put into creating the complete picture for her guests.  While the seriously desirable clothes spoke for themselves with the styling, hair and makeup all working perfectly into this, Miss Skillings gave us everything we could have ever hoped for in a fashion show.  The entire scene - with the vintage garden references, sweet smells, indoor/outdoor setting of the Palm House in the Royal Botanic Gardens, fern fronds unfurling from twine baskets hanging from the ceiling - perfectly complemented the range and the label itself and made the day a wondrous event.  Which is exactly what a fashion show should be.  Sure when it comes to the crunch fashion is a business just like any other - but it's a business built on desires and dreams and sometimes it's nice to see designers that still have these same aspirations rather than them simply flogging frocks on the runway.

With Sydney fashion week just a few sleeps away now it will be interesting to see if other designers have followed suit and approached their show in the same way with such a focused, brand specific outcome.  Will Marnie's show be the first in a string of delightful all-encompassing events or the clear standout in a standard season?


The beautiful outdoor setting.


Carrying inspiration right through from prints to the show itself.

Marnie Skillings Time lapse of show from Rachel Papandrea on Vimeo.

Fleeting memories of the day

Tuesday, April 27, 2010

Girlfriends

Richard Prince captures attitude.  This guy is someone that seriously knows how to grab a moment in time and bring us into it with him.  There's something about the energy and rawness in his images that stop me every time I see one and get me hunting down more.  He's a bit of a jack-of-all-trades with his art moving around from photography to sculpture to paintings but for someone who tries his hand at anything he seems to pretty well always get it right.  Prince is definitely out there to shock ... and once his shocking tactics are in motion he's set off on his next shocking delight which means that right when you thought he had been too blatant or rash in his work, the next set is up and rolling and far move deviantly exciting than the last.

I have a personal favourite from Prince which is his 'Girlfriend' series.  I think that I tie these lovely ladies in with my muse as they have that raw, rugged, confrontational sexuality to them which Prince has captured flawlessly.  In an interview I read a long, long time ago with Prince (in Russh magazine) he mentioned that bikers and their girlfriends are not something that he actually has any interest in but that his fascination for this series was this idea of a factual reality that is for some reason somewhat unbelievable.  Now I will admit that I have not read said interview for quite some time now and that the message may now be somewhat misconstrued, but even if it is I like the general idea of it.  There is something appealing in these shots because it has a certain feel of being 'other'.  These girlfriends are not like any girlfriend and probably not like yourself so while we know the images to be true, (because isn't that what a photograph is - the truth?) we still don't quite believe this scene with which we are so unfamiliar.  Anyway that's probably enough from me.  Basically I love it.  It's raw, its exciting, its full of attitude and through all this its incredibly compelling.


Untitled (Girlfriend), 1993, Ektacolour photograph.  
Source unknown (Sorry I've had this one floating around for years.)



Untitled (Girlfriend), 1993, Ektacolour photograph.

Sunday, April 25, 2010

Wayward Women



I have a strange fascination - possibly even an obsession - with crazy, wild or insane women in films.  I'm not really sure exactly what it is that draws me to these characters but there is something in their sexuality, vulnerability,  passion and their confrontational personalities that keeps me searching for more of these characters.  I've slowly built my muse around this wild picture of a woman who is threateningly assertive, irrational, emotional, occasionally deranged, and excitingly sexualised.

I'm sure that she will come up a few times throughout this blog especially as I start getting into the designing of my collection so I thought that I might introduce her to you now.  While the following two are not the only examples of my muse they are certainly strong representations of the woman that influences my work.  She's some wild mix of Maria-Elena (Penelope Cruz in Woody Allen's 'Vicky Christina Barcelona'), Betty (Beatrice Dalle in Jean Jacques Beineix's 'Betty Blue') as well as all the thousands of representations of irrational, crazy and deconstructed women that appear within the works of the Surrealists - something which I'm sure I'll no doubt come to.  For now however let me introduce you to Maria-Elena and Betty...









Friday, April 23, 2010

Web Based World

Last week I attended a lecture by Kate Vandermeer of iSpyStyle who filled us in on all the ins and outs of the online fashion world.  For what can end up a relatively dry topic, she did a damn good job at making me realise just how huge the role of the internet is on fashion and actually got me rather excited by the idea of this global network that is practically uncontrollable and unstoppable.  You can access pretty well anything these days with a few clicks of the mouse and a well considered key-word search.  It would seem that barely anything (especially in the fashion world which is so fixated on the now) can be kept from instant, worldwide coverage which basically means that as consumers/designers/creatives/viewers or whatever category you would like to slot yourself into - we have to be a part of the world wide web to be a part of our industry.  For fashion, an industry which once relied on rather rigid hierarchal systems where only the privileged had access to designer goods and knowledge, we're suddenly in a world where every Tom, Dick and Harry can peer through the latest haute couture well before it gets anywhere near the magazine stands.

Some of you have probably seen this but I saw it for the first time in Kate's lecture and it somewhat blew my mind.  From what I can determine the video is about 2 years old which means the statistics are potentially even more phenomenal (or scary - however you want to look at it).  Anyway I hope you are as struck by all of this as I was.  It's a crazy, crazy web based world we're living in!

Wednesday, April 21, 2010

Something Sandy

Here is an odd one for you.
Completely unrelated to pretty well anything that I have mentioned on this blog - this is a video of moving sand that does some very cool things with the help of some little holes.  I was somewhat enchanted by the little flick as well as the amazing patterns it created so I thought I might share it with you...
Enjoy!



Tuesday, April 20, 2010

Obscurity

I walked past a small art gallery today which was very unfortunately closed, as it is so nice to procrastinate in an art gallery and justify to yourself that you're 'working'.  Anyway, since I couldn't go in and look I propped my hands up on the glass and peered in, trying to make sense of the huge amount of smallish photographs posted up on the walls which were battling with the glare from the sun on the window and the reflection of my face and the street behind me.  Mostly images of faces, I wondered what the exhibition was all about.  Who were these people?  Why were their faces in an art gallery?  Are they somebodies or nobodies?  Are they all women?  No, that one is definitely a man.

It struck me how intrigued I had become by the exhibition.  The obscurity of the images through the glass and the ambiguity of the people in the images without having any knowledge of what the exhibition was, made the experience far more interactive than had I walked straight into the gallery, read about the exhibition, looked at the faces, nodded politely at my favourites, before walking out the door with my thoughts undoubtedly returning immediately to everything other than what I had just seen.

The experience got me to thinking that there is something important in leaving little clues for people while not unraveling the full story.  I've made up my own mind about the exhibition and it is likely to be completely unrelated to the artist's meaning but this to me is part of creating and experiencing art and design.  By not issuing orders on what your work means you let everyone who views it take their own story or experience away from it.

I could return and go in for a proper look but I think I might prefer the blurry faces that my mind has retained - window glare and reflections included.

Monday, April 19, 2010

McQueen - Think King


I was flicking through 'Fashion at the Edge' by Caroline Evans and came across an interesting section on some of the twisted and dark influences that seem to continuously infiltrate the thoughts of us fashion designers.  One of the more striking images was from Alexander McQueen's Spring/Summer 1996 collection 'The Hunger'.  The model's clear plastic bustier isn't actually painted on as I initially assumed it to be but filled with worms squashed up against her flesh.  Suddenly what was was an oddly painted bustier has become so much more with the knowledge that those swipes of paint are actually worms writhing around on her skin.  I am far more intrigued by the image and the concept behind it than when I believed to know what I was looking at.  Always the one to challenge fashion and its wide array of associations, McQueen is definitely the king of making us think.  There is a clear attempt to make us uneasy with what we are looking at ... and it works.  The amount of times that I have flicked back to this image to take yet another look is probably slightly excessive but I think it proves my point in my previous posts, (Engaging and Walk The Line) that design needs to make us think to make a difference and be noticed and absorbed.  I'm taking a lesson from McQueen when I design and rethinking what I believe to know and maybe, hopefully, might be able to make people think myself.

(Image at http://estb.msn.com/i/12/2BA77821B3CC61355687D11E7DE.jpg)

Engaging

Ahhh M. C. Escher ... how you continue to enthrall me.  I have had a fascination with Escher's amazingly impossible prints and drawings that seem to defy all of the laws of physics taught in school up until year 10 which is when I ran far, far away from practical sciences.  For me, there is nothing more satisfying than trying to nut out how a design works - especially when that design seems to disregard all logic.  There is something so fun and satisfying about letting your mind having to search for understanding in something which would generally seem so obvious.  I fall into an intense engagement with his work which continually brings me back again and again to the artist.  There's definitely something to learn in there for artists and designers alike.  A creative work should be thought provoking and unimaginable prior to its existence. Creativity should express the unexpressed and excite people, repel people, confuse people, delight people.  It should trigger a reaction or emotion each time that it is seen or used.  Design should engage people like Escher has engaged me after years and years of pouring over the same images in continual amazement of his impossible worlds.


M.C. Escher - 'Ascending and Descending'

Sunday, April 18, 2010

Walk the Line


What is it about the appeal of a design that presents you with the unexpected?  If these two skeletons were girls with pigtails would we really give the image a second look?  If the colours were dark, mysterious or sombre would the overly obvious, standard skeleton mood bore us?  Where and when does design become intriguing and worthy of investigation?  Does interesting design play with peoples assumptions, making us question what we already know of our world?  How can a designer walk the line between the known and the unknown and force people to react, to have an opinion, to respond and question what is assumed.  How can we, as designers, carry the known into the unknown?

Wednesday, April 14, 2010

Being Born Again


On the 22nd of April Sydney is in for a live collaborative explosion of our very own.  How apt that I have only just posted about how important and successful joint ventures into creativity can be when I find out that new fashion label D&Em will be launching their new art/fashion collaborative collection at an event called Being Born Again Couture Fashion.  The D&Em line sprung from early collaborations with artists and now focuses creating a fusion of fashion and art by working with artists such as Susan Andrews, Andrew Hopkins and Parris Dewhurst.  D&Em call their work 'ready to wear art' and push fashion to that art/fashion border which can be oh so much fun but sadly sometimes oh so scary.  In this instance...things seem to be going oh so well.
The pair have teamed up ten designers with ten artists of their own choosing and asked the designers to develop a couture piece for what sounds like an amazing show with not only the launch of D&Em and the collaborative couture show, but all sorts of artworks and performers in the setting of a beautiful old sandstone jail cell at the National School of Art's Cell Block Theatre.  Between light based artworks, trapeze artists, fashion designers and a bundle of musicians the event should really show off just what creative collaborations can do.
Sadly we'll have to wait until then to see the results of the collaborations but I've been lucky enough to have had a sneak peak and things are looking amazing!  One of the collaborations is Sydney designer Marnie Skillings using Tracey Moffatt's work as inspiration...I'm picturing some very, very wonderful things!

Image (Marnie Skillings Spring/Summer 08/09)


Image (Tracey Moffatt 'Invocations #2', 2000)


Tuesday, April 13, 2010

The Fidelity of Images

So I Know that I was focusing on the idea of the 'muse' but all my thoughts about Namalee Bolle and her influence on the Basso & Brooke shows got me to thinking about the circular nature of the design world and the way that designers, artists and just generally creative people tend to influence one another's work and come together in a big mish mash of good ol' creativity (for us fashion heads the collection as seen on the catwalk is usually this - sound/fashion/accessories/art/illustration/hair/makeup/styling).  So I headed over to Hint Fashion Magazine and thought that I might have a browse through some of their archives of web editorials and found the perfect little example of how creative people and creative industries can work together and influence each other in simple, accessible and effective ways. 

Hint Mag has some amazing collaborative works within their archives and it is definitely worth a browse if you enjoy seeing the creative ventures of a whole bunch of individuals being thrown into the melting pot.  The idea of these moving editorials for web based media has huge potential and people have been doing amazing things with it for a long time so sometimes it's nice to go back and look through the different approaches of different artists.  The idea that poetry, sound, illustration, styling, photography, animation, fashion, hair styling, make up and who knows what else can come together to help convey moods, themes and emotions so powerfully is something to consider for all designers.  Collaborations with the right people can be the most successful way to push your work to a level that you never expected it could be, but perhaps envisaged in your mind.  It could also make for an interesting study on how individual works could be adapted and appropriated through unconnected artists, changing the original meaning and developing skewed understandings.  Considering the stunning and thought provoking  editorials in Hint, here's hoping we continue to see even more web based fashion collaborations.

Here's a peek at a personal favourite, La Fidélité Des Images.  The piece showcases the photography of David Fischer, artworks by Hannes Schmidt, styling by Jane Garber, lyrics by Ulf Aminde, sound by Tim Tim, illustrations and animation by Christopher Wendland and model Tim Morten.  Unfortunately I cannot put the whole video up on my blog for you but I have managed to  get you a couple of little snapshots which will hopefully be tempting enough for you to check it out yourself!






Monday, April 12, 2010

Introducing ..... Namalee Bolle

In pondering the role of the muse I thought I might jump back a post or two to Basso & Brooke.  Their print work walks a fine line between art and fashion and got me to wondering who a brand like that might have as a muse.  My guess would have been a relatively zany character, someone who was pretty out there styling wise and all in all, a seriously strong individual with an equally strong sense of personal style.  And so who did I find but the wonderfully wacky Namalee Bolle.


If you've had a look at my post on Basso & Brooke (http://designbrainbucket.blogspot.com/2010/04/while-were-on-print.html) you're probably already joining the dots.  Namalee is a direct reflection of the energy, colour and individualism that the Basso & Brooke label represents and provides the duo with a truck load of exciting inspiration to pour directly into their design work.  She sings, she runs a magazine ('Super Super' in case you're interested  http://www.myspace.com/thesupersuper), models and generally spends time helping to style and inspire the Basso & Brooke collections.  Although it's difficult to find information on exactly how any particular brand works with their muse I think Namalee's personal style definitely seeps through into the Basso & Brooke collections and her wonderfully thrown together mis-matchy styling has rubbed off on the team as she now styles for their shoots and catwalks.  The following pics are of Namalee with Basso & Brooke and one of the looks that she has styled for the catwalk.  The hat, the necklace, the dress and the general 'maxi-maximalism' that Namalee describes her style as being plays a huge part in the overall spectacle of the label.










Yes, they even went so far as to incorporating her face into one of their prints.  In this partnership it's the connection of the vivacity between designer, muse and brand identity that cements the relationship and really helps to build up a design direction.  Namalee is perfectly suited to Basso & Brooke and vice versa and the energy that comes from the team is amazing. If you want to see some real Namalee style fun check out No.7 of her YouTube published series 'Relentless Optimism', 'Because We're Worth It'.  In this little number she makes an interesting comment about perceived beauty while the rest of the series touch on a whole bundle of fashion related issues.  Good to see a muse questioning some elements of the fashion industry and perhaps this is part of the appeal of the Namalee package? 

Saturday, April 10, 2010

But Where Does it All Come From?

Finding myself in a bit of a design rut this morning I took to flicking through some old magazines and came across an interesting article in Oyster that got me thinking about how the designers and artists of the world stay inspired.  It's not always an easy thing to be inspired.  Sometimes it comes naturally and at other times you have search really hard for it, often feeling less inspired than when you began.  So from what do all the magical, inspired and unbelievable fashion shows come?  How do photographers and artists continually find new ways to express themselves when they feel that perhaps there is simply nothing left to express?

The article was titled 'Fashion Freaks Make the World Go Round' (Oyster Australia issue 57) and gave a quick run down of the quirky personalities of some well known fashion profiles who have come to be known in part due to their eccentricity and fearless attitude to fashion. Featuring avant-garde style queens, Anna Piaggi and Isabella Blow, influential fashion faces, Andre Leon Talley and Karl Lagerfeld, as well as Amanda LePore - the muse of artist David LaChapelle - this article featured the weird and the wonderful of the creative worlds.  The idea of the 'muse' in art and fashion has always played a major role in informing creative works and providing impetus for new ideas as well as a source of personal inspiration for the artist or designer.  The muse provides an open source from which designers can freely borrow, share and find inspiration without having to rely solely on their own experiences and emotions.

The relationship of a muse to a designer is an interesting connection of trust, inspiration and influence.  While designers cannot borrow style and ideas from other designers, the muse can help to form these facets of a label or a collection in a sharing of creative direction and intellectual property.  A free flow of information and interests between a designer and their muse results in the clear development of a brand identity.  The result, is that we get consistency.  The direction of a brand feeds from the label's muse and dissipates into who the brand is designed for.  Before Paris, Milan and New York fashion weeks begin we already know which shows we desperately need to see shots from.  We can rely that our favourite label from the last few seasons will still provide a collection for us to swoon over and it's this 'brand identity' that makes us continually keep coming back for more.  Which is exactly what keeps fashion ticking over and is exactly why the next few posts will look at the weird and wonderful muses which have influenced some of the most well known designers.

Tuesday, April 6, 2010

While We're On Print...

I'm still thinking print after looking at Mikio Sakabe's 20XX and have been browsing around for more amazing print designers and exciting ideas, so how could I help but get very tied up in the wild and wacky world of London based designers Basso & Brooke.  Christopher Brooke, the English half of this design duo, was an illustrator while Bruno Basso, covering all things Brazilian, has the fashion background.  So with that combination of amazing illustrations and connections to the vibrant life of Brazil how could they help but become an imaginative and colourful force in the British fashion scene.







So many crazy, colourful ideas all rolled up into one big jumble of fun!  They are one of the most daring labels working in print and due to this have really develop a niche for themselves in the world of digital print.  Even more exciting is that as digital printing keeps evolving there is no doubt that these two will be on top of it.  They say that technology is at the forefront of their creative processes which only means all the more printed goodies for us!
If you're interested, this article on 'Shift' has an interesting interview with the designers and some shots of deliciously theatrical looks from a retrospective that they did as a part of Berlin fashion week in 2008.

B



Monday, April 5, 2010

Stunning Cityscapes











http://www.antwerp-fashion.be/SHOW2006/4/MIKIOSAKABE/SHOW/collections.htm

So I know that this collection is somewhat old news but I thought it might be worth me checking out in relation to  my design concept which is about the culture of the Weimar Republic and its contrast between the reality of a collapsing society in post WWI Germany and the frivolous, creative hubs which flourished in the cities at that time.
Mikio Sakabe's final collection '20XX' for the Antwerp Royal Academy of Fine Arts looks the idea of the sinister side of a city against it's more colourful, warmer interiors and uses some ideas of print and volume to help express this.  While Sakabe's silhouettes are very literal, for example actual silhouettes of buildings padded and cut into garments, he has been so clever with the way that they work with the garment and function almost as a print.  Teaming these 3D motifs back with his once again literal but absolutely stunning prints of the same ideas would have once again seemed too obvious to me, but he has really made it reflect this idea of the dark, seriousness of the city to the more relaxed, friendly world within it's interiors.
I sometimes find that this kind of literal translation between different design elements can become a bit expected but Sakabe really pulled this one off.  Everything has been appropriated just enough to keep it different from the last piece, leaving me wanting everything ... Now if only I had somewhere to wear a jacket of mini cities.

B