Ahem... Excuse Me...

...for my absence these past few weeks. I was lucky enough to be set loose in London and was rather too busy enjoying everything that amazing city has to offer to find time to sit myself in front of a computer. That said, I have now discovered a whole load more inspiration to share so stay tuned!

Being London, creativity turned up in the most unexpected places, such as this Strawberry Shortcake wallpaper lining the bathroom walls in The Breakfast Club cafe in Hoxton. Love it!

Wonderwood

My apologies for harping on about Comme Des Garcons, it's hard not to, but I just came across this short film by the Quay brothers which coincides with the release of the new CDC fragrance Wonderwood. The creepy puppet voyeurism is oddly mesmerising and disconcerting. I'm not sure if I like it but it does make me want to see what the fragrance smells like- if only to see what would inspire a film like this-so I suppose it works.

Dress Becomes Body

I recently posted about a Pierre Huyghe exhibition which questioned the boundaries and limitations we place on on space and objects. This got me to thinking about the concept behind Commes des Garcons' infamous S/S 1997 collection- often referred to as the "lumps and bumps" collection. My tutor advised me to check out the range after seeing some of my own somewhat "lumpy" designs and I think it's absolutely amazing.

Rei Kawakubo's philosophy for the range was Body meets Dress. Dress meets Body. Dress becomes Body. This questions the threshold between dress and our bodies- each one shapes the other so how is it possible to differentiate them? (image below from Caroline Evans, 2003, Fashion at the Edge: Spectacle, Modernity and Deathliness, Yale University Press, New Haven, p268)

(bottom two images from http://fagcity.blogspot.com/2009/10/lumps-and-bumps.html)

No Man is an Island

Time and time again we have been told by our tutors that you can't design in a vacuum. This year, more than ever, I have become aware of how true this is and how my designs are influenced by the world around me. My collection is shaping up to be quite masculine, and my good friend from Design Brain Bucket is actually designing menswear, so I've been thinking a lot more about what's going on in the world of men's fashion. Another friend posted on The View From Here an image from Lookbook.nu, which lead me to a site I didn't even know existed and down another rabbit hole to discover these quite beautiful, dandy-esque menswear photos by Francois Bouret.

images from lookbook.nu

This is a good opportunity for me to indulge in design with a completely different aesthetic to what I'm working on. It also shows me how important it is to keep sharing inspiration, you never know where it may lead...

Underwater Colour

Whilst trawling It's Nice That I came across a feature on Jill Greenberg's Underwater series. She's tagged "The Manipulator" because of her digitally enhanced photography which verges on surrealism. I didn't realise it but I actually knew a lot of her work- the crying children in End Times and the countless advertisments, fashion editorials and celebrity portraiture which always has an unsettling, if not sinister quality. However, Underwater is new to me and I think it piqued my interest because of the amazing colours (electric blue anyone?) and that the whole idea is layer upon layer of artificially enhanced nature. The pool is a man-made body of water, reflecting unnatural colours, and the subjects are manipulated and their movements stylised to an extreme.

(these images from Ambient Art Gallery)

(these images from photoshelter)

If these models look surprisingly co-ordinated it's becuase they are actually members of the American Olympic synchronised swimming team. To see more of her work, have a look at her online portfolio at Manipulator.com.

The Light Fantastic

I was looking up artists who use electricity and light in their works when I came across Pierre Huyghe. He's a french artist who explores some pretty complex ideas through a range of mediums, from video and digital graphics to photography and installation. A 2006 exhibition called Celebration Park was entirely white, with moving doors and words spelled out in fluorescent white light. He was playing with the ideas of a door being a threshold, by constantly changing their position within the space the "inside" and "outside" ceased to exist. (all images from PBS)

The Journey That Wasn't is a film by Huyghe based on going to Antarctica to search for a mythical albino penguin. It's about mental, physical and philosophical journeys. Did he really go to Antarctica with a group of artists and get stuck in the ice? or it is staged? It doesn't matter because the point is questioning, learning and creating.




Finally, this is one of my favourite stills from his films because it is serene and completely odd at the same time. Huyghe found a town under construction near New York, to be called Streamside. Everyone there came from somewhere else and there was no history to the town yet. So he organised "Streamside Day", complete with parades and speeches, creating a hyper-reality based on fact but a complete work of fiction.



It's pretty difficult to try and summarise his work into one post- so if you're interested in these ideas have a look at the Art 21 site, they have a decent bio and slideshows of his work with more in-depth explanations.

Electric Colour

There's a lot of talk about colour going on around the fashion halls at the moment. I've been a part of in-depth discussions about the virtues of cold greys with steel blue influences versus warm greys with a tint of mouse brown but without heading over to taupe. Skin comes in colours from nude, flesh, beige, powder pink to peach-but-not-peach, and my own variation "burnt flesh".

So I have colour on the brain. At the moment I just can't get over neon blue. Developing the colour palette for my final collection I started looking at the colours of electricity, neon hues of all sorts but particularly blue. This came from a recent obsession with Blade Runner (apologies to anyone who studied it for year 12-I only discovered it last year and so it hasn't been ruined). The movie showcases neon lights in all their glory. Contrasted with the derelict surroundings I found it a really powerful element in the film. That and blue smoke.

(image from Original Trilogy)


(image from Broken Projector)

There is just something so amazing about this almost turquoise, electric sea colour that makes it jump off the screen. However not so easy to concoct in a dye pot. One last electric delight is a restored neon umbrella prop from the Blade Runner, which I didn't even notice during the film but I think it's fairly amazing- partly due to the prop itself and partly because of this eerie photo.

(image from Blade Zone)