old one of me made right before the ‘basic’ stage, though that Ann chainmail top I would wear from time to time no matter what
p/s started to give away my clothes & not interested anymore in buying more designer stuff
The set for the new Dior couture show made by Bureau Betak – ‘mirror box’ pavilion with the grey sky and bare trees reflecting in it as if there’s no actual building. The interior for me looks like some relaxation garden at the 70s-designed spaceship. Spring in cyber-garden.
All pics by Bureau Betak.
Marina Abramovic in the Givenchy ss13 ad
surely it was meant that Marina here is exploring elements of ritual and gesture while representing physical and mental purification at the same time addressing the political traditions of her past while testing the limits of the relationships between the performer and the audience – assigning the passive role to herself, with the public being the force which would act on her. let’s hope that this performance will raise the sales.
seems like soon we’ll be like a wizards – having everything working according to the smallest motions of our hands.
Somehow while uploading the pictures for my post with the CdG photographs I started to think about Wolfflin’s principles of analyzing of art described in his ‘Principles of Art History’. I mean this contradiction of painterly vs. linear, because for me the clothes on those photos look quite painterly (actually reminding me of Francis Bacon’s works). I tried to apply this concept to works of other designers as well. Thinking about it I found Dries van Noten, Lanvin, Rodarte, Vivien Westwood to be the painterly ones, while Givenchy, Jil Sander and Prada seems to be the examples of the ‘linear’ ones. Though sometimes it’s quite difficult to decide, for instance among Hussein Chalayan’s work there are some which are more graphical and ‘clean’ and the others where there are a beautifully chaotic mash up of textures, colors and volumes.
I remember that while reading Wolfflin the most interesting parts for me were the ones where the concept of ‘painterly vs. linear’ was described with examples from sculpture and architecture which for me speaks about the versatility of the concept.
In case of fashion I think that the ‘painterly’ designers in general are the ones who work more with volume, cut and textures, while the ‘linear’ are obviously so-called minimalists, designers whose works might be described as ‘structural’ and brands specializing in prints and patterns. Though sometimes ‘painterly’ and ‘linear’ elements could be combined in one outfit or in one collection. All in all I think it’s interesting to try to apply this concept to fashion and see the results. I also think that it could be interesting to put in this context the work of different stylists.
Also I’d say that for me painterly vs. linear concept is in some sense one of many incarnations of the chaos vs. order juxtaposition and it might be case of why it’s so universal.
I’m officially in mourning over the now confirmed appointment of Alexander Wang as the new creative director at Balenciaga – it’s such a mésalliance. In my opinion t-shirt designer whose collections look so alike that you couldn’t really tell apart one from another by no means could be the head of such influential and innovative brand. Surely he will now have the official right to ‘re-interpret’ (cough) anything that Ghesquiere did in the past. Good for him that there have to be the vast archives and a good team though we’ll see if this will be enough for him to fill in the shoes of Ghesquiere.
In the past few years many of the houses that ruled fashion in the last 15 (or so) years got new creative directors – Dior, McQueen, Valentino, Yves Saint Laurent, Hermes, Kenzo, Galliano and now Balenciaga. This is really the end of an era (and I do realize how cliché and pretentious does that sound). Hopefully we’ll see more of Ghesquiere’s work in future wether from his own label or from some established house that might hire him (I have my guess where he might end up).
Quite paradoxically I’m equally fascinated by something medieval/antique and something technological/futuristic. As well as I like something visually very raw/chaotic/eclectic and something very minimalistic, even plain, to the point where there are no references at all, even the slightest. I wonder where’s the cross point.
One of my favourite editorials ever. Just look at these exploding flowers, that shade of blue and Gemma Ward’s alien beauty. i-D october 2005, photography – Nick Knight, styling – Jonathan Kaye, model – Gemma Ward.
Boudicca aw 2005-06 – Animate – ‘exploding’ eyepieces.
Right on the border of make-up and accessory there are these amazing cyber-eyelids with aggressively exploding crystallized eyelashes. A perfect example of what I might call a punk luxury. A flower of frozen needles. There’s something harsh and violent about it but at the same time it looks so elegant and high-class. Thanks to this feature models look like heroines of some sci-fi blockbuster. As it is always with Boudicca I wonder from where the idea came, because with this designer duo there’s always some reference hidden in every detail.
I just had my very first time with ZBrush – the digital sculpting software. It’s been a while since I started wondering about different 3D programs – I was always fascinated by all these future-technologies staff so decided to try to learn one of the programs and see what I could do with it) Couple of weeks ago I tried Sculptris, free and relatively simple 3D sculpting software. After a few days of using it I became quite familiar with it’s interface and tools so I decided to go for a next level and tried to make something in ZBrush.
So here are my first attempts at creating some 3D – actually I should wait till my new graphic tablet will be delivered but I couldn’t resist) So I’ve made something – not sure how to describe it). The strange headpiece was made in seconds, while the actual ‘work’ was done on the features of the face – nose, ears, forehead, cheekbones etc. because the basic model looks quite unattractive and has not very well detailed features and fine proportions. By these first bits you could definitely see that Star Wars/Babylon 5 seen in my childhood had somehow affected my tastes) Now I’m just excited to learn how to make fine details, different surfaces and textures, and everything else.
Helmut Lang, spring-summer 2004 – skirt and belt – metallic leather, plastic and metal
/ Another magazine
One of the key items of one of my favorite Helmut collections – somehow it’s posh, cool and abstract all at the same time. And it represents one of the principles of his work. It seems to me that the idea for this piece came from the jacket tied at the waist, with the sleeves knotted and dangling, but it was re-created in a minimalist way with all the details ‘cleared’ so the final result has only a slight resemblance to the original source. That’s what I liked so much about Lang – he always could pick up some ordinary, even banal things and turn them into something fresh, cool, and completely unexpected.
Stunning late 90s editorial from Vogue Italia’s couture supplement, shot by Steven Meisel and styled by Nicoletta Santoro. Looking at these photos I think again about appearance and power – how we could add power to our image through body language, glance, clothes, make-up and accessories and how often we use our wardrobe/style in order to look more powerful than we are.
I continue to observe and admire 90s fashion editorials such as this one from Vogue Italia shot by Peter Lindbergh and styled by Nicoletta Santoro. I like that it’s so minimalist – nothing distracts you from the beauty of the clothes and models. It features looks from Yohji Yamamoto (that famous spring/summer’99 collection), Helmut Lang, Comme des Garçons, and many others.