Thursday, December 11, 2014

In the current Age of the Anthropocene, defined by human interference with nature, material exploration reverts common man-made materials back into those resembling nature. And with plastics set to be the new fossils and our oceans host to the plastisphere, these new materials give the illusion of wilderness in a constructed environment. See the transformative and textural work of Sophie Rowley or the crafted, fragile destructions of Faustine Steinmetz.


Alessandro Puccinelli | Intersections
Maja Salamon by Agata Pospieszyriska | Vogue Ukraine Ocotber 2014
Sophie Rowley | Material Exploration
Elisa Sednaoui by Peter Lindbergh |  Vogue Italia, September 2012
SS15 Rodarte by Lea Colombo | Dazed Digital
Jenny Sinkaberg by Julia Hetta | Rodeo Spring 2011
Ilona Stolie by Adam Katz Sinding for Le 21eme | Mercedes Benz Fashion Week Russia SS2015
Draped sheet | Sasha Kurmaz
Thomas Ruff | m.a.r.s. series, 2013
Striped dress | original source unknown
Stones & River | original source unknown
Faustine Steinmetz SS15 by Philip Trendgove | Dazed Digital
Matteo Fogale and Laetitia de Allegri  | ISH 2014

views of now

Friday, December 5, 2014

We live in a visual culture yet our experience of our selves is limited visually. I can feel the expression on my face, but it is others who see them. Similarly, I can use clothes as an expression of self but it is other's who view this expression the most. My view is fleeting and obscured, with glances angled from above or a posed reflection. We see in partial what others see in full; the morning's control rather than the day's abandon.

So with a limited view, we experience our dress as much through other sensory stimuli. The swish of fringing, unexpected air gusts, or fabric swirling around your legs. Feelings of being bundled, feelings of moving freely, rippling the surface of the fabric like a duck ripples a pond. The sound of corduroy thighs or sequins jostling for a glimmer. Pulling at a pilling knit. Hitching, adjusting, smoothing and twirling; this is how we experience clothes.

Textural fabrics continue to dominant fabric trends, perhaps balancing our current visual overload with the sense of touch. Rugged knits, slubbed and nepped jerseys, natural state wovens, crafted abrasions, needled-punched denim, all offer the wearer heightened texture.

Future technologies will take the experience even further with the development of smart textiles collecting data and negotiating between our bodies and our environment, bringing us greater understanding of ourselves (Amanda Parker). We've already seen Ralph Lauren incorporate biometrics into their Polo Tech tee unveiled at the US Open this year. And today $3.5 million was granted to the Manufacturing Innovation Hub for Apparel, Textiles & Wearable Tech in New York. This is such an exciting area of development, exploring through technology what the experience of dress could be in the future.

Henri Matisse | Papercut 1947
Carmen Kass by Philip Gay | Marie Claire Spain, July 2014


Monday, December 1, 2014

Artificial is not confined to the false or contrived with the created often an homage to the naturally occurring. The synthetic dystopian futures we imagined remain grounded with mineral textures, aged patinas and gently weighted dips and folds.

Sienna King by Agnes Llyod-Platt | Fashion Futures
Tan Ngiap Heng | long exposure dance photography
Francoise Morellet | Quadrature du Carre No. 1, 2007
Recom Arthouse and Tom Price | Liquid Simulation
Takuro Kuwata | sculpture
Amanda Murphy by Benjamin Alexander Huseby | V #92 Winter 14/15
Olafur Eliasson | Riverbed, 2014-15
Ann Sofie Back AW14 by Benjamin Mallek | Thisispaper
Alexandre Francois/ CCCLXXIX | Annees-Lumiere
Style Heroine | Flipping Sides, October 27, 2014
Martin Azua | vase with stone
Julia Bergshoeff by Karim Sadli | Poetic Justice for The New York Times T Style Winter Luxury 2014
Alexandre Francois/ CCCLXXIX | Annees-Lumiere


Thursday, November 20, 2014

My two favourite things:
1. Oxidisation. When the the fabric hits the air it blushes from lime to turquoise to denim blue. I could watch this all day.
2. Texture. While I appreciate the stitching skill required for a good resist, if it looks like the sky or resembles a stripe, I love it. Wrap it, dip it and hello doughnut.

Shibori, natural dye and organic indigo dye workshops are held at the Plant Craft Cottage, Royal Botanical Garden, Melbourne. 


Wednesday, November 5, 2014

A spiderweb of shredded denim and a corset rising from a sea of ribbons. Destruction and elevation of the ordinary.

The beauty of Jean Paul Gaultier is the hope he gives the ordinary. It is worth going to the exhibition just to see the exquisite detail of each piece, but what I really love are his ideas. This is not a prescriptive fashion. This is not same, same but different. This is the variety of the ordinary and the beauty of the different found in all of us.

Once was not enough for me.
Jean Paul Gaultier Exhibition at the National Gallery of Victoria. Open daily until February 8, 2015.

Also on the highly recommended list is the Advanced Style documentary featuring seven gorgeous women who make ageing look damn fine. I saw this before going to the exhibition and the same spirit of defiance against definition exists in the two. There is a freedom that comes with creativity and style that often can be missing in fashion.

Own images of the exhibition.


Thursday, October 30, 2014


Menzi Burgler Architeketen, photo by Rasmus Norlander  | Evangelical Reformed Church, Wurenlos
Margrethe Mather | Combs, 1931
Giedre Dukauskaite by James Macari | Cover Me for Marie Claire UK, September 2014
Michael Pfisterer | Arbeitsplatz #3, collage
Chillhiro via flickr | Potted Plants, June 23, 2011
Querelle Jansen by Sigurd Grunberger | La Panthere Rose for Grazia France, 29th August 2014
Shinichi Maruyama | Nude #1, 2012
Ryan Lauderdale | Metaxis, spraypaint on glass, 2012
Kirsten Owen by Josh Olins | Dazed & Confused, September 2013
Colette Griffin | Folded sculpture
Alicia Galer | Forestry Print
Harry Roseman | Folded Plywood 15
Simon Astridge Architects | The Plywood House
Laura Daza | Cosmetica


Wednesday, October 29, 2014

When contemporary work is made, at what point does time require it to belong to the past rather than the present?

As a temporal medium, dance must be performed to remain in existence. But whilst the work remains relatively unchanged, time enters the relationship, shifting and influencing perceptions and performance.

Over the weekend I saw a retrospective of Trisha Brown repertoire, with works spanning from 1983 to 2011. As a postmodern choreographer, she gave herself 'permission to invent'. To invent indicates newness; searching for unknown answers. I wonder what she thinks of her older works now, works that have shaped the language of contemporary dance performed to audiences that have become familiar with her form. No longer contemporary works, but holding such value as moments in time.

Fashion has a similar temporality to dance. It is bound to a time and season. Created and worn displaying parallels with created and performed. It is when there is permission to invent and freedom to move fluidly through the references time provides that true newness is discovered. Raf Simons for Dior has done just this. Susie wrote a beautiful summary over here.

Dior | Spring/ Summer 2015
Malgosia Bela by Josh Olins | Shape Shifters, WSJ, June 2013

keep everything

Monday, October 6, 2014

Everyday fragments confettied, celebrating the undoing of editing.
With so much to filter, we have become adept at choice. What happens to the creative process when the outcome is to keep everything?

A designer and a choreographer both asked the same question.
Phoebe Philo for S/S'15 Celine was interested in the risk of uncertainty in the creative process as freedom from our obsession with editing. Whilst some saw this as a lack of cohesion, I really like the idea of allowing for creative chaos as a way of revealing latent synapses in the search of epiphanies and sense. It reminds me of one of my favourite dance works, Antony Hamilton's Keep Everything for Chunky Move.


Sam Rollinson by Alasdair McLellan | The Gentlewoman #10, Autumn/Winter 2014


Saturday, October 4, 2014

When clothes are reduced to categories, disconnect for me begins. In analysing catwalk trends there is a danger of sorting, explaining and reducing what is seen. And while my livestream seat is excellent, the filtering of sensory experience through a screen is a kind of mimesis. A glorious portal, but a reality once-removed, perhaps contributing to my disconnect. Even if I was there, chances are I'd be a back seat viewer, which makes me wonder which I would prefer, to see the clothes or to see the show?

The tension between the two is an evolving conversation and I'd recommend Angelo Flaccavento and Alexander Fury for further reading.

As humans we desire newness. From the fashion industry, we demand it. So the pursuit begins, ending for many with the catwalks. That is why I find myself filtering inspiration to be produced and then sold. It is a business first. Last week, I got lost ticking trend boxes, making connections between products, assimilating ideas. I forgot why I chose this.

It's never going to be just about the clothes. For some that is their love. For me, it's about humanity. It is our creativity, expression and practicality. Clothes are important because someone has created it and someone wears it. As simple and complex as that. 

I'm interested to read this book looking at these questions:

Gary Hume | Older, 2002
Osma Harvilahti | Laundry, Kenya, 2013
Hiro (Yasuhiro Wakabayashi) | Black evening dress in flight, NY, 1963
Osma Harvilahti | Pool, Dioulasso, 2014


Wednesday, October 1, 2014

There are just so many clothes. 
I worry that by helping in the creation of choices I'm not helping people choose. 
All I want to do is sit on the grass and stare at the clouds.

See the making of the beautiful mossy carpet used in Dries Van Noten's show here.

Alexandra Kehayoglou for Dries Van Noten | Spring/Summer 2015 
Luisa Brimble | Wattle
Zara | Blouse

Brush strokes

Wednesday, September 3, 2014


Emma Oak by Stefan Zschernitz | Stylist France #58, 28th August 2014
Lisa Sorgini | Captum Orchis
Iana Godnia, Dasha Gold, Carly Moore and Anna Piirainen by Driu & Tango | WSJ, September 2014
Sean Woolsey | Art
Ana Beatriz Barros by Jason Lee Parry | Malibu Magazine, September 2014
Roksanda Ilincic Backstage | Fall/Winter 2014, London Fashion Week


Tuesday, August 26, 2014

Digipressionism? Psychedelicate? A remastering of borrowed images, disrupting the visual order and confusing the authorship.


Katrin Thormann by Erik Madigan Heck | Into the Woods, Harper's Bazaar UK, September 2014

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