Salt

Friday, May 30, 2014


A salted sea palette, faded blues and bleached sand.

Two excellent visual references for palette inspiration:
Salt by Emma Phillips, a collection of photos featuring the crystalline white landscape of the Australian salt mines. The textural contrasts of white under a blue sky are particularly soothing.
Margaux Roy's beautiful minimalist photography.

Collage References
Santa Barbara | Ashleigh Good and Andreea Diaconu by Josh Olins for UK Vogue, June 2014
Margaux Roy | Photography

Anonymous

Wednesday, May 28, 2014




In a world of brands and personal brands, the concept of the anonymous maker seems dated. There seems little commercial sense in being unable to claim profits or popularity. Yet by removing the maker's mark you are left with the identity formed in the product.

Whose identity speaks loudest in most of our products today? Without a label or logo, could we tell which brand or designer it belonged to? Copyright is a pervasive issue facing the fashion industry, as are the issues of ethical manufacturing and sustainability.

Anonymity releases us. It can release us to focus on the creative process, like Phoebe Philo who avoids media attention as everything she has to say is in her product (American Vogue, March 2013). But it can also release us of responsibility. We marked the anniversary of the Rana Plaza tragedy last month. This is an issue we all share and one in which there are no benefits to anonymity.

For further reading on Rana Plaza you could start here:
Rana Plaza | Clean Clothes Organisation / Rana Plaza Arrangement

And these thoughts were prompted by a visit to the Fashion Detective exhibition at the NGV. It looks to uncover clues in the discovery of couturier's unmarked work. Exhibition on until 31st August, 2014.


References
Sojourner Morrell by Steven Pan | Double #23 Spring 2012
Russell Leng | Painting, New Nature Systems 8
Also, Russell has a great tumblr for further inspiration.

Architecture

Sunday, May 18, 2014



Fashion is architecture. It is a matter of proportions. Coco Chanel.

To play with proportions plays with our sense of ease. Volume can equally create space for visibility or invisibility. Cocooning can feel comforting or claustrophobic.

The relationship between fashion and architecture exists because of the centrality of people to the creative purpose. Both practices negotiate the space in which we live, whether it is the larger space in which we exist or the smaller one that we wear. Both deal with creative and commercial constraints. And both, at their most successful, achieve space for us to revel in our humanity, in all our variety and splendour.


Reference:

Desert

Thursday, May 15, 2014






References
American Gothic | Edie Campbell by David Sims for Vogue March 2014

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