Wednesday, October 31, 2007

Collective Selection--process shots and fitting#1-walking around MICA

Project #2: Collective Selection: Fashion as a Mechanism of Belonging

"there is a natural urge in human beings to seek out resemblances and invent correspondences with the world. Through empathy human beings can, if not fully understand the other, at least come ever closer to the other, through the discovery and creation of similarities." --Walter Benjamin

Sept. 28: Intro: Project #2-Collective Selection
* 3 to 5 hours of studio work outside class (finish project #1)

Oct. 5:
Rabble talk and Anna Slides
Measuring/Pattern Construction/scour/wash/divvy-up fabric/ Dye Free form piece--
* 3 to 5 hours of studio work outside class (finish project #1)

Oct 12: Cut and Sew--piecework and dye
Class Icon/Embroidery Machine help with Michelle

Oct 19: Studio day

Oct 26: Crit/Presentation
(* 3 to 5 hours of studio work outside class)

NOV 2: Intro Project#3/Set-Up Exhibition


Can the group insight a critical mass via the garment/ a visible segment of society?

Can the group invent a new style/ a symbol of group membership?

What would a collective line of clothing look like for this class, this time, this group?

How can the group exercise the notion of fashion as relational--continuing to "culture a fashion"

What is the purpose and function of this garment?

What is the storyline?

Where/how will it be presented?

What is the collective Icon-draw it:

What could be individual Icons within the group umbrella?

Color Palette--see handout


Friday, October 26, 2007

PARIS, October 7, 2007 – "It all came from our collaboration with Richard Prince, who is an artist who appropriates references within his work, which is what we do—which is fine, so long as there are three differences in everything!" declared Marc Jacobs, in the push and shove of the media mayhem backstage at Louis Vuitton. "And I'm a fan of SpongeBob SquarePants—and for all I know, so is Rei Kawakubo, because that's where our color came from!" Phew. If you take the decoder to that rush of explanation, it might take all night, but essentially what you have is Jacobs' defense against critics who skewered his New York show last month as derivative, especially of Comme des Garçons.

Pulling in Richard Prince for this season's Louis Vuitton project was a typical Jacobs coup of multidimensional, referential, and self-referential significance. The artist's spray painting and texts were worked into LV bags, recalling the hit collaboration with Takashi Murakami. Prince's body of work also triggered a rerun of the 12 Carita-uniformed girls who opened that Murakami show, but this time, they were sexy nurses in see-through plastic coats—Stephanie Seymour, Eva Herzigova, Nadja Auermann, and Naomi Campbell among them. That hilariously kinky parade was inspired by Prince's Nurse paintings—one of which appeared on a Sonic Youth album cover, which again links back to Jacobs' family circle of personal reference.

The collection? It was a reconfirmation, in less extreme form, of the controversial show with which Jacobs kicked off the season in New York, full of nutty combinations of fabric and garish SpongeBob pastels. The Lurex knits, pencil skirts, and gazar trenches came in mauve, yellow, pink, and purple, with deconstructed fragments of pinstripe vests, tweed suiting, and goddess-y chiffon fused into the mix. It was crazed, random, playful—yet grounded, as always, in bottom-line business sense. To see that, you only had to focus on the shoes—pointy pumps with bows and sparkles in the toe—and a new chunky line of costume jewelry. It's Jacobs' way of walking the line between creative freedom and commercial innovation.

– Sarah Mower

Friday, October 19, 2007

KNIT KNIT KNIT!!! Rachel Project 3 images

These are looks from Central St. Martin's MA collections by Emma Gale and Louise Goldin. Their approaches to the use of knit in garments are inspiring to me, and provoke me to explore different ways of crafting with it.

These are all pieces from Christian Lacroix's spring 2008 collection. I am drawn to these intricate patterns and embeslishments on the clothing.


Looking through this year's Spring fashion shows, there seems to be a dichotomy between structure, rigidity, and stiffening the image of the human body versus the liberating of human form. Not only can this division be seen from designer to designer, but within certain collections themselves. In some collections, there is an exemplification and clear focus on the idea of disorder and chaos (ex: Commes des Garcons) and even a satirical view of urbanism today. Rei Kawakubo's projection of anime on the floor of which the models walk on, the brightly colored garments, the face painted hearts placed symmetrically on each models cheeks are countered by the disorganized appearance in which the placement and proportions of actual pieces of cloth give off. Some of these pieces consist of bright fuschas, royal blue, and yellows, printed with bold stripes or ruffled skirts that seem to simply be tacked onto the surface of fabric that lies beneath, opposed to more mundane, neutral colored coats (or half coats) also layered one on top of the other. The austerity in the later are in sync with the expression of the models faces, all painted a base of white along with the choice of having them each walk out with uncombed, disheveled hair, leaving strands falling carelessly in front of their faces.

Some oppositions sensed through this line:
Work vs. play
Masculine vs. femininity
East vs. West
Childhood vs. maturation
Tradition vs. informality
Honesty/Humbleness vs. pure display for public
Which one of these are portrayed as the core of each being, or maybe both of them are, consistently battling each other. Or perhaps neither. I even sense that this conflict between polarities is placed on the base of a dispondent figure. Emotionless, drab, spiritless one could say.
It seems as though there is a mockery depicted of pop culture and perhaps specifically of Japanese culture. Where has the sense of tradition gone? The arising of many groups in Japan, such as Harajuku girls, Gothic lolitas, anime obsessions have countered much of the history of Japan. Its as though these groups have be created for the mere purpose of rebellion.

You even get a sense of this through Alexander McQueen's collection

these are a few of my favorite things

I just can't move on from Gaultier's spring 07 couture line, there a similar theactricality in Galliano, and i particularily like this dress, i feel like it had more structure,
and was dissapointed to see gaultier's pirate crap in paris... i thought it was boring, or maybe pirates are just played out..or lame

I liked how the Mcqueen line really emphasized how clothing shapes the body inside, shoulders hips//


does anyone want to buy me an early christmas present?

marc jacobs for louis vuitton

the orange/yellow/blue pallet that dominates this collection reminded me of marc by marc jacobs spring 2003 collection combined with a few prints and his unique gathering that i've seen alot of in his stores recently. I love that he's been consistently moving toward a more draping-oriented method of designing. the way he manipulates masses of cloth in unexpected places is really thought provoking. much of his asymetrical designs tread a line between awkward and elegant. I really enjoy his signature combinations of patterned cardigans and overcoats with drapey, loose fitting garments. the clashing of different iconographies, prints, colors, and construction methods has a really nice bohemian, salvaged look about it without coming across as an imitation. The few looks that were exclusively grey and black could easily be worn in a more conservative environment but also managed to seem very "downtown" due to creative layering.

I was really pleasantly surprised to see some beautiful couturesque gowns that were uncharacteristic of jacobs's work:

I actually found the handbag collaboration with Richard Prince to be the least interesting (but most hyped) part of this collection. design wise, alot of the bags weren't that impressive. Many of them would be passable in a gallery in the postmodern 80s but carrying one around would seem a little.... art school? I felt the nurses sporting the bags were a bit gimmicky. it seems as though marc jacobs is trying to uphold his reputation for playing with the concept of branding and logo identity without actually having something to say this time. maybe he left his aptitude for subversiveness with his graffiti and rats in new york.

Thursday, October 18, 2007

I'm pretty sure I didnt take this one... Lindsay?

then theres class time...

Eventually, it's trunk time!

See ya'll tomorrow.