Archive

Words


Inspired by…

  • Dark, lanky silhouettes of the trees
  • The twilight and sunset setting of the forest
  • Various mushrooms found in the forest and the textures, colours, and patterns found on them
  • Somber, peaceful, mysterious mood/atmosphere of the forest
  • Textures found on bark of trees
  • Moss found on trees
  • Fallen leaves (colour and texture)
  • Fireflies and the light they create

 

I’m kind of confused about the high/low concept, I keep hearing different things from different people. 1) To pick a high-end designer and translate their designs to a lower price point i.e. Karl Lagerfeld for Macy’s 2) Interpret “high” and “low” metaphorically and produce a collection based from that.

Okay so for now, I’ve decided to incorporate both concepts into one collection.

Dries Van Noten’s unique print mixing + the metaphorical interpretation of “high” and “low” through images of death and life (skeletons and fruits/flowers)

Brainstorming:
  • large placement prints, small patterns
  • contrasting elements superimposed (animals, textures, politics, people)
  • life and death (obvious ideas: animal skeletons, flowers, fruits)
  • combining this concept w/ “age of the beautiful man concept” i came up w/ earlier (decorative yet classic, time for the man to shine, balancing of the genders, end of discrimination)
Ideas for pieces:
  • all over print shirt
  • print on collar only shirt
  • sheer back paneling on button down
  • all over print pant (tapered at bottom)

Every time I ride the train I can’t help but observe and analyze what people around me are wearing. On the ride back home today, while looking at everyone’s umbrellas, shoes, clothing etc. I realized that there had to have been a thought process (even the slightest opinion) behind each individual’s decision to purchase and utilize that object/wear that article of clothing.

This awareness led me to the question—what it is about the design of an object or piece of clothing that allows an individual to prefer it over another? I answered this with the idea of a person being able to relate his/her personality with the particular design of an umbrella or shoe or whatever and therefore defining his/her internal with external aspects in the form of clothing, accessories, tools etc.

I was also inspired today by something Clive Dilnot said during the Global Issues in Design lecture:

Mcqueen’s ability to meditate on his ancestry…critical affirmation of taking something and making a commentary on it (ex/ Romantic Nationalism, Widows of Culloden, Highland Rape).

Another point of interest was Dilnot’s summarization of Bauman’s proposal that contemporary culture is only concerned with consumption.

Taking all of these ideas into consideration, I have decided to develop a menswear collection, inspired by skate/street culture (Lords of Dogtown), while also making a commentary on popular youth culture (focusing on leisure activities) of today. I will be creating my own patterns/prints from photographic manipulations or other methods yet to be explored of street textures, art and graffiti.

<img class=”aligncenter” title=”

Some mind mapping to help develop my concept for the Internal & External project:

  • Things/People/Places/Events that influence my internal have an effect on my external (where internal can be interpreted as my subconscious, intrinsic desires, morals, values, etc. and external may be defined as the methods in which I express the internal, either to the public or to myself with or without the intention of doing so)
  • Deconstruction of reactions to things that spark my soul –> the effect on my internal and external behavior
  • Why am I stimulated by particular things? What am I aroused by? A common theme?
After having one of my best friends view this journal, I asked her if she was able to gain a sense of my aesthetic and feelings, to which she responded, “it shows that you are a strong girl influenced by your environment and beauty you find in everyday life…you like things that don’t really belong or things out of the ordinary…”
Some quotes I find true to my own reality and have some relevance to the topic of beauty:
  • Strangeness is a necessary ingredient to beauty. — Charles Baudelaire
  • I think perfection is ugly. Somewhere in the things humans make, I want to see scars, failure, disorder, distortion. — Yohji Yamamoto
  • Everything has beauty, but not everyone sees it. — Confucius
Some quotes from a few of my favourite designers I find inspiring or question my own convictions as a fashion designer:
  • I don’t want to show clothes, I want to show my attitude, my past, present and future. I use memories and future visions and try to place them in today’s world. — Raf Simons
  • At the end, it’s not about disguising people. It’s about showing people who they are and their personality with clothes. — Dries van Noten
  • I don’t know, I just don’t like our customer to be pinned down on one person or character. I can relate to different people. — Lucas Ossendrijver
  • ShopBop: Taken out of context, individual pieces in the collection (blazers, button-downs, utility jackets) can read as classic. How do you go about reinterpreting classics with your own vision in mind? What role does styling play in realizing your vision? Do you work with a stylist?
  • David Neville: We really enjoy the details—whether it be buttons, linings, trims—and we feel they give classic pieces some personality. We want our clothes to be accessible and wearable so the classics play a big part in the line. The styling plays an important role because it is about a way of dressing, how to layer and how you put the pieces together for the look. We have been lucky enough to work with some great stylists, and it helps to get another point of view from the outside. Mixing the influences to create a visual image of what our brand stands for is an exciting and challenging process.
  • Fashion has a right to exist, because it permits the people to define themselves over and over again. — Ann Demeulemeester.
  • Fashion has always been nourished and fired by the exchange of ideas. It’s almost as if, once put forward into the world, an idea belongs to no one but to a universal psyche. It seems as if that is how it should be. — Dries van Noten
  • FilepMotwary: Your choice of fabrics is matched with color and print. It is a quite ethnic approach, especially the last two collections. Thus, the silhouette has nothing to do with anything in that category. More specifically, the winter 09 collection is totally feminine, truly European but yet does not have any references in the era we live in. What was your real aim behind them?
  • DriesVanNoten: My “aim” is very much that there should be little “Aim” in my work and that my approach to designing be more instinctual than cerebral or strategic. It is for this reason that many may observe my collections as a “body of work” that evolves gradually across the seasons rather than shifting gear or direction radically or suddenly. The core values and the lexicon remain and intensify yet the voice remains familiar.
  • FilepMotwary: It’s strange, though, how young women grasp the work of a virtually unknown designer — without magazine hype. What would you say about this phenomenon? How will fashion be in the next 20 years, as a whole and as a theory? 
  • DriesVanNoten: It’ very much human nature to seek and embrace that which we feel to be intimate and in which we feel our values and emotions are reflected. This is what the exclusivity of unknown designers can provide. I see little reason for this pretty universal condition to change any day soon.
  • How important is for MMM to feel connected with its customers considering the fact that the House itself is a mystery?
  • MMM: Crucial! We hope that they are convinced that they can be completely ‘at one’ with a garment and be happy wearing it and that a garment can reply to the needs and emotions of the person wearing it is a beautiful thing.
  • We are lucky enough to have a very wide group of men and women who wear our garments. From our point of view we have always paid particular attention to designing for as large a cross section of women and men as possible. We are lucky in that so many people of different ages, shapes, social role and background are following our work! For us femininity is all embracing and is not just limited to one body form or one attitude. Since our beginning our fashion shows have reflected this reality of our collections in that we have always chosen to show our collections on women of varying ages and from varying walks of life. We feel that we are lucky in that this approach is also reflected in those who wear our garments.
  • What serves to inspire you the most?
  • MMM: Our main inspiration has always has been the extremities and changes of daily life. Our work is solely a proposition to wear what it is we like to create, a presentation of a way in which we see things at a given moment.
  • As a team we all share so many interests and sources of inspiration, these are all very varied and would take far too long to list here. It is often hard to quantify or describe inspiration. It is often more by osmosis than an active decision.
  • Each member of our team seeks to explore their own stimulation, be that visual or another. Such stimulation and dialogue varies in direction and importance for each of us.
  • MMM suffers from a lack of self exposure. Does it happen out of modesty and if not, why is the House hidden in shade from the Glossies?
  • MMM: Even though people tend to think we do not communicate, we feel we are. But we do not use any physical image of a designer to promote our work. If people are touched and like to wear what we propose they are free to buy and wear it. What our designer looks like has, for us, little or nothing to do with this process. We prefer that people react to a garment through their taste and own personal style and not their impression of the individual and group of people who created it as translated and hyped by the press. Unlike actors or singers we do not need any physical form to express our work.