Rose

Thursday, October 30, 2014




References

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

Move

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.

Reference
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.

Reference:

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

reduced

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:


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

grass

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.


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

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