I feel that my work has really progressed through researching to pattern cutting, here are some examples of my work.
Tuesday, 10 May 2011
Negotiated Project AD206
I feel I have learnt alot through doing this project, I enjoyed working with the photographer and learning how to edit photos. Here are some examples of work from this project, research, essay, contact sheets and edited photos.
Dose of Composure
With this week being my second time in RAFW, I felt like I sort of got the gist of what was going on as opposed to the fuzzy haze that my head was in last year, getting to grips with a foreign schedule and an opposing time zone. Problem is this time round, I came laden with expectations, which can make watching key shows like Dion Lee a somewhat tense experience when you're crossing your fingers and your toes (which is quite hard to do with my big toed-trotters) for him, hoping that a second show in the same space as the Sydney Opera House would ignite the same feelings as it did the last time. You'll probably have all seen the pictures from last year of course - the sunshine flooding in over pretty ink blot prints and layers of pleats that ignited an outpouring of love from press and buyers with Net-a-Porter as a big coup.
So what of this sophomore Sydney Opera House showing? We definitely got sunshine and if we add 'in' to 'tense', that sums up the experience of what was ultimately a decidedly more aggressive show, consolidating what Dion Lee has built up over his seasons as a starry young designer as well as exploring new textural territory. Mirrored catwalk plus MEGAWATT sunshine beaming into Sydney Opera House equals everyone fashioning visors out of press releases and at one point, Tommy Ton next to me used Phil Oh's lustrous hair as a shield (except… err… black hair just makes for a heat headache). During the course of the show, whilst frantically shutterbugging and changing ISO settings, not knowing how the pics came out because I was squinting so much (I refuse to watch shows with sunglasses on - a) I'm not Anna Wintour b) does it not alter the shade of things?!).
I came out seeing white lines fading in and out of my dodgy contact lenses and feeling like perhaps this was the best sort of sunstroke I had ever experienced. Still, the collection needed shade and a showroom to really go up close and it's with this second viewing that I was able to form a more concrete opinion on Dion Lee. Questions such as "Does Dion Lee live up to the hype?" seem a little irrelevant. Yes, he's a hot ticket. Yes, he's showing at the Sydney Opera House (which from Dion's point of view was a decision to maintain continuity). Better to ask whether he is evolving his aesthetic as a young designer who has been somewhat crushed with press expectation but at this stage in his career, do we need to expect an explosive collection everytime?
Essentially, Dion Lee looked back a little to what he has been honing into since he started which is tailoring with complex construction - cut-outs, darts, folds and pleats that are transseasonal (I've given up distinguishing between Southern Hemisphere's S/S 11-12 season and our A/W 11-12...) and are given an uplift by the cool palette of greys and light turquoise. The beginning portion of the show felt like a strong consolidation of what Dion has been exploring from the very start of his career. Metal cuffs and collars catching the rays emphasise the strong lines that have been drawn upon the body with cut and colourblocking...
Then comes the bit which was a little lost of me at the show. Saved by the showroom! What looked like a glass-derived digital print was actually a scanned in bit of crumpled up packaging, something that Dion was looking at for this season with a vinyl coating on selective areas creating a PVC effect...
It's this selective vinyl coating that really creates the sort of 'artificiality' that is definitely a shift away from the soft and organic fluidity of the last S/S 10-11 show...
The fascination with synthetics continues into a pixelated rubber texture that looks like a spray paint effect from afar but up close feels like the surface of a rubber grips on a bike. That sounds like a horrid description. What I mean to say though is that it's certainly an unexpected texture on an impeccably cut dress and adds a new dimension to the digital print underneath which guides the way the rubber is printed.
Without the rubber, monochrome gradiations also create the illusion of texture on simpler pieces like this tailored jacket, a Dion Lee no-brainer if you will...
A dose of sexy jelly latex is also used in the collection which was I definitely didn't catch at the show. You're probably thinking I'm the most unobservant idiot but I really cannot emphasise how much sun was coming through and how DIRECTLY it was hitting the row we were sitting in specifically...
The appearance of texture of silk, paper or plastic is distorted in such a way that the point is not to recognise what it is and here with more vinyl coating, you get the reverse effect of seeing something naturalistic - a warped vein in a slab of marble, crystal formations...
Another no-brainer Dion Lee piece in the form of this turquoise side-cut-out jacket...
Dion had some accessorising help on hand in the form of these simple rings and cuffs that 'framed' the models' fingers and arms...
...as well as mirrored-wedges by Camilla Skovgaard to match the mirrored catwalk... perfect refraction vehicle I tell you...
Perhaps the breakway portion of the show was the final series of white dresses where the agression and tension was let loose a little. It also showcased an experimental bit of pleating that Dion hopes to explore further as he used cardboard moulds to dictate the origami-esque folds in the pleats integrating metal mesh plating, another detail I remember from his previous collections. Of course, here is where light helps with the sun filtered through the sheer organzas and chiffon portions of the dresses which looked more like the product of natural draping rather than ruler-like precision.
Just scrolling back up as I finish off this humdinger of a post makes me wonder how so many components (and I had to leave some of my shoddier photos out...) into one collection and still make it cohesive. In a mix of solidification and experimentation, perhaps the message wasn't as one-noted and unified as last year's show but for me held more intrigue as to where these techniques will take Dion next when he's still at an early stage as a designer, although it may not seem this way when he's touted as Australia's fashion wonderkid.... Let's hope Composure doesn't turn to Over Exposure leading to Under Pressure. Hah. Laughing at my own lame one-liner there...
I found this on another blog and found I am very inspired by this collection, it has given me a insight into a runway show from another country and shows the clothing in detail it is intersting to see the fabrics and techniques used.
So what of this sophomore Sydney Opera House showing? We definitely got sunshine and if we add 'in' to 'tense', that sums up the experience of what was ultimately a decidedly more aggressive show, consolidating what Dion Lee has built up over his seasons as a starry young designer as well as exploring new textural territory. Mirrored catwalk plus MEGAWATT sunshine beaming into Sydney Opera House equals everyone fashioning visors out of press releases and at one point, Tommy Ton next to me used Phil Oh's lustrous hair as a shield (except… err… black hair just makes for a heat headache). During the course of the show, whilst frantically shutterbugging and changing ISO settings, not knowing how the pics came out because I was squinting so much (I refuse to watch shows with sunglasses on - a) I'm not Anna Wintour b) does it not alter the shade of things?!).
I came out seeing white lines fading in and out of my dodgy contact lenses and feeling like perhaps this was the best sort of sunstroke I had ever experienced. Still, the collection needed shade and a showroom to really go up close and it's with this second viewing that I was able to form a more concrete opinion on Dion Lee. Questions such as "Does Dion Lee live up to the hype?" seem a little irrelevant. Yes, he's a hot ticket. Yes, he's showing at the Sydney Opera House (which from Dion's point of view was a decision to maintain continuity). Better to ask whether he is evolving his aesthetic as a young designer who has been somewhat crushed with press expectation but at this stage in his career, do we need to expect an explosive collection everytime?
Essentially, Dion Lee looked back a little to what he has been honing into since he started which is tailoring with complex construction - cut-outs, darts, folds and pleats that are transseasonal (I've given up distinguishing between Southern Hemisphere's S/S 11-12 season and our A/W 11-12...) and are given an uplift by the cool palette of greys and light turquoise. The beginning portion of the show felt like a strong consolidation of what Dion has been exploring from the very start of his career. Metal cuffs and collars catching the rays emphasise the strong lines that have been drawn upon the body with cut and colourblocking...
Then comes the bit which was a little lost of me at the show. Saved by the showroom! What looked like a glass-derived digital print was actually a scanned in bit of crumpled up packaging, something that Dion was looking at for this season with a vinyl coating on selective areas creating a PVC effect...
It's this selective vinyl coating that really creates the sort of 'artificiality' that is definitely a shift away from the soft and organic fluidity of the last S/S 10-11 show...
The fascination with synthetics continues into a pixelated rubber texture that looks like a spray paint effect from afar but up close feels like the surface of a rubber grips on a bike. That sounds like a horrid description. What I mean to say though is that it's certainly an unexpected texture on an impeccably cut dress and adds a new dimension to the digital print underneath which guides the way the rubber is printed.
Without the rubber, monochrome gradiations also create the illusion of texture on simpler pieces like this tailored jacket, a Dion Lee no-brainer if you will...
A dose of sexy jelly latex is also used in the collection which was I definitely didn't catch at the show. You're probably thinking I'm the most unobservant idiot but I really cannot emphasise how much sun was coming through and how DIRECTLY it was hitting the row we were sitting in specifically...
The appearance of texture of silk, paper or plastic is distorted in such a way that the point is not to recognise what it is and here with more vinyl coating, you get the reverse effect of seeing something naturalistic - a warped vein in a slab of marble, crystal formations...
Another no-brainer Dion Lee piece in the form of this turquoise side-cut-out jacket...
Dion had some accessorising help on hand in the form of these simple rings and cuffs that 'framed' the models' fingers and arms...
...as well as mirrored-wedges by Camilla Skovgaard to match the mirrored catwalk... perfect refraction vehicle I tell you...
Perhaps the breakway portion of the show was the final series of white dresses where the agression and tension was let loose a little. It also showcased an experimental bit of pleating that Dion hopes to explore further as he used cardboard moulds to dictate the origami-esque folds in the pleats integrating metal mesh plating, another detail I remember from his previous collections. Of course, here is where light helps with the sun filtered through the sheer organzas and chiffon portions of the dresses which looked more like the product of natural draping rather than ruler-like precision.
Just scrolling back up as I finish off this humdinger of a post makes me wonder how so many components (and I had to leave some of my shoddier photos out...) into one collection and still make it cohesive. In a mix of solidification and experimentation, perhaps the message wasn't as one-noted and unified as last year's show but for me held more intrigue as to where these techniques will take Dion next when he's still at an early stage as a designer, although it may not seem this way when he's touted as Australia's fashion wonderkid.... Let's hope Composure doesn't turn to Over Exposure leading to Under Pressure. Hah. Laughing at my own lame one-liner there...
I found this on another blog and found I am very inspired by this collection, it has given me a insight into a runway show from another country and shows the clothing in detail it is intersting to see the fabrics and techniques used.
Monday, 9 May 2011
BRITISH FASHION DESIGNERS....BY HYWEL DAVIES
British Fashion Designers
Hywel Davies
The first book to embrace the whole of the UK and its creative influence on international fashion, this book is aimed at industry professionals, students and anyone with an interest in fashion. Both inspirational and informative, it will also appeal as a coffee-table book, being visually inspiring and modern.
The UK is a creative and cultural melting pot for international designers to develop their creative identity. London Fashion Week is renowned for showing an edgier breed of fashion designer and for celebrating cutting-edge couture that pushes the boundaries of convention.
This book focuses on the British designers since 2000 who have made their influence resonate globally: designers such as Stella McCartney, Alexander McQueen, Hussein Chalayan, Vivienne Westwood, John Galliano, Julien Macdonald, Giles Deacon, Matthew Williamson and Paul Smith. Each chapter is devoted to one designer and defines visually how Britishness informs their work, showing final collections, process work and studio space. Text in the form of questions and answers or running text illustrates each designer's British influence and distinct style.
The UK is a creative and cultural melting pot for international designers to develop their creative identity. London Fashion Week is renowned for showing an edgier breed of fashion designer and for celebrating cutting-edge couture that pushes the boundaries of convention.
This book focuses on the British designers since 2000 who have made their influence resonate globally: designers such as Stella McCartney, Alexander McQueen, Hussein Chalayan, Vivienne Westwood, John Galliano, Julien Macdonald, Giles Deacon, Matthew Williamson and Paul Smith. Each chapter is devoted to one designer and defines visually how Britishness informs their work, showing final collections, process work and studio space. Text in the form of questions and answers or running text illustrates each designer's British influence and distinct style.
I have thoroughly enjoyed reading this book, it embraces Britishness I have found it very inspiring and informative.
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