SoLoveToSewLikeTheBoys

Right, I'm ready to get into Blog #8 and surrounded by heaps of "stuff" I want to work with, and, as is often the case, to start is the hardest part.

I'm going to work with an 'Architectural' theme in this blog.
There is such an interesting connection between Architecture and Fashion.  Once you start looking into this concept, it leads in all sorts of directions, and, is very absorbing and going to involve interesting shapes.

The starting point for me is CdG's S/S 2009 RTW collection, which is an amazing investigation into garment geometry, and a return to black for RK. The collection worked with hexagonal cutting in tops and skirts using vinyl leather.  It is very inspiring.  Here are some images from the collection.

Sarah Mower reviewed the collection and her sentence "frilled edges on stiff plastic tectonic shoulder plates" proved inspirational for my creation from the collection.
Tectonic as an adjective: of or pertaining to building or construction; constructive, architectural.

 I purchased the black vinyl leather for a project I was working on a couple of years ago, but never used it on my original plan. So, there it was, under my work table, and off I went, cutting hexagonal shapes and stitching them together. It was a very organic experience as it grew and took on its own shape to a degree. Very tectonic.  The soft fabric ruffle ribbon was a good way to finish the upper edge.

My Hexagonal Capelet, worn with the sculptural skirt I talked about in a previous blog, which was also inspired by the same collection.

As I have already stated, Architecture and Fashion are strong companions.  They share similarities, both provide protection & shelter, both provide means to express identity.

There have been a number of exhibitions that cover the topic.  The particular one that I want to refer to is Skin & Bones, Parallel Practices In Fashion & Architecture, but before I do, here are some sketched images that demonstrate the influence of Clothing History & Architecture.

There has always been an influence between dress and buildings.  No doubt the first garments and houses made by early humans were motivated by the need for protection and shelter.  Many times garments were fashioned in the image of the buildings and vice versa.

  

In the Egyptian image the angularity of great tombs and patterns on massive columns were reflected in the clothing and head wear.

The Greeks and the Romans followed a connection between buildings and dress. Folds of cloth in the chitons and togos reflect the wonderful columns that held up the awe inspiring temples and villas they constructed.

The "Dark Ages" are considered rather formless in both architecture and clothing.  The Church was doing a lot of the building and some wealthy nobles got the opportunity to appreciate rich cloth and colour.  General man was otherwise living an impoverished lifestyle, seemingly lacking the capacity to imitate and invent.

The Middle Ages was a time of awakening.  Human imagination came into it's own.  Tall spires, pointed arches and somewhat simple columns echo in the long lines of gowns, hanging sleeves and a plain outline of the body.  As Gothic architecture became more elaborated with abundant carving, clothing also became more decorated. 

The Tudor period was a new and revolutionary time in Western architecture.  The burly figure of Henry VIII

fits so well into the sturdy outlines of a Tudor arch and the woman's head wear imitates the structural shape. Henry delivered a strong influence upon the buildings of the day, which then exerted an influence upon the king. 

The Elizabethans became more distorted, padding, varst quantities of heavy material and elaborate decoration/detail. The architecture and furniture was bulbous and stiff.

The Seventeenth Century initially saw the shape of the body become more natural and less exaggerated, then fashion dictated exaggeration again.  This time, instead of being wide, everything was tall and narrow, hair styles, head-dresses, furniture and windows.

The Eighteenth Century delivered a simple broad design outline with elaborate decoration within it.  

The Nineteenth Century (Regency & Victorian) saw rapid changes in fashion.  The Regency delivered simple classical lines, geometric patterns and details.  The Victorians however, had a lot of fun playing with all sorts of shapes and forms, which seemed to be based on styles from previous periods.  Architecture or costume could have many different examples of decoration and trimming.

(These images and information came from 'Designing and Making Stage Costumes'.  Sorry, no record of author)

Now, the fascinating exhibition: Skin & Bones, Parallel Practices In Fashion And Architecture. 2007.

This exhibition involved 46 internationally renowned architects and fashion designers, covering the period 1980s to 2007.  It explores the evolving relationship between architecture and fashion, suggesting exchanges of ideas/concepts enabled innovative work within each discipline.  The similarities are both interesting and fascinating. "Architects and fashion designers construct for and around the body, both respond to the needs of the environment, and the best in each field make it their business to push the boundaries further outward."(Andy Pickering & Lily Richards, magazine supplement)  Fashion designers and architects creating spaces, shapes and statements in response to needs and wants of the human body.  

Here are some interesting images from the exhibition

Yokohama International Port Terminal.  Victor & Rolf  One Woman Show (F/W 2003)

Mikimoto Ginza 2.  Petal Dress Detail (Unsure of designer)

These are CdG designs.  She has used intensive folding as a major design feature.  The left and centre images were used in the Skin and Bones exhibition, which considered the vertical folds to look similar to load bearing structures found in high rises.  The right hand image is from, Fashion, A History from the 18th to the 20th Century. The Collection of the Kyoto Costume Institute. (A fabulous book!).  I have always loved this picture.  I love how it is tied with the bows.  Apparently, nine layers of fabric are pleated and sewn together forming the bodice and skirt, with the top layer having a print and vinyl coating.  I wonder what RK's conceptual statement was for the instigation of this 1998 S/S collection?
Check this youtube site re the collection...it's great....www.youtube.com/watch?v=U8EUqVaGqyc

This is the guidebook for the exhibition, when it was shown at Somerset House, and if you go onto this link
http://www.somersethouse.org.uk/documents/skinbones_exhibition_guide.pdf
you will be able to look through it.  It has wonderful drawings, both buildings and garments, carried out with clear clean lines.  It is a good resource, and I think the font is pretty cool as well, very applicable.  The guidebook presents the various concepts delivered in the exhibition: body, identity, shelter, geometry and tectonic strategies.

I have my own image to add to this theme.  E and I went on a trip to Whangamomona the other weekend and we drove down a side road which had this 40 foot container at the end of it. E was interested in how it got there, what damaged it etc while, me, I saw pleats...and thought of a Junya Watanabe dress.

CdG inspired sweater

Buildings, constructions, buildings.....Rei Kawakubo is an enthusiast of architecture.  She has worked with a range of highly regarded architects, e.g. Future Systems and Takao Kawasaki in the creation of CdG boutiques from Tokyo to Paris to New York.

I made a special sojourn to 520 W  22nd St, Chelsea, New York, and initially strolled right on by....the exterior is not what you think it would be, but that is very RK.  My photo will explain.

The image on the right gives a better view of the immediate surroundings...but then you become aware of the entrance way. Fantastic.

I also made a visit to the Paris boutique, 54 rue du Faubourg St, Honore.  It's quite different, which is also very RK.

 

I used to purchase a magazine called Nest, and in one edition they had an article on the New York store. The editor's dog was investigating the interior.  He is the most amazing looking poodle dog.  Check it out.

The editor said he had the dog clipped in homage to RK.  We think he had just been to see the Merce Cunningham collaboration with RK.  It was at the time of her infamous Body Meets Dress Dress Meets Body collection.

There is a similarity re the shapes isn't there.

Here is another cool link to see the actual dancing in the costumes  https://www.youtube.com/watch?v=MBlzeehZIeE  It must have been quite an experience dancing in such structural costumes.

I need to end this blog, and seeing as I have just been mentioning shapes and dance. I will post some images of my 2011, Yr. 12 class Fashion Event.  They decided to stage a performance instead of a parade, and worked with a theme of Shape.  Lady Gaga was a popular inspiration for a number of them.  It was a bit of fun, although not without it's problems staging it on the tennis courts, sound quality wise.

I know, I know, I'm meant to be signing off, but just one more image, as it relates to buildings.  It's a bit of fun.  Another image from the Nest magazine I used to get. The summer 2001 edition  commissioned Rei Kawakubo to design a mourning outfit for the United States Capitol.  I love the dome dressed in tulle and ruffled ribbons, very RK.  And the black ribbon threaded through the whole magazine and tied in a bow is a very cool feature.

 

Anyway, that's all for now.

SLTSLTBsigning off.