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Yohji Yamamoto

Exhibition V&A 2011

Fabric , he said.’is everything and talks to his pattern makers to wait and listen to the fabric’.

In this exhibition, don’t know what he wanted to say, it might be fabric, but  to me , he was so same like alway,, woolen felt, woven padding, silk dress, touch cotton.

If there is something , he made me think he is a genius, is his understanding of garments. Yohji understands the structure of garment very well. He just adjust every elements freely , sometimes deconstruct, reconstruct, enlarge some of details and place in different place where it was unlikely to be placed.

It makes very special images.  Also, he sometimes make inside out and backside front. It seemed like he like refusing conventional way and that make people believe him pretty special. In addition to this, I could see he adopted Japanese conventional clothes. For example silhouettes for mens coat were adopted  from Samurai’s cloth and some of parts like collars and OBI were adopted from a traditional dress which is called “Kimono”.  Think these oriental elements brought fresh impact to modern fashion, especially to whom has never been to Asia.

He says in a video when he designs womenswear he imagines a woman is wearing in menswear. I think that is why his design is outstanding and unconventional because his ideas are from quite different place. I imagined a woman crashed at boyfriend’s place and waked up in the morning in his white shirt with a little bit bush hair.  That is my version of natural sexy woman. Is there any possibility he thought the same thing?

His structural garments reminds me Japanese Samurai costume. That exaggerate their body to look bigger to their enemy and make them powerful. Old Japanese, they were pretty small.

One more interesting thing was in the video , he called himself as a risk-taker. He just cut clothes to find some interesting shape by the way of cutting,  He might get interesting details or he could just lose a cloth, but he didn’t hesitate. That was the point I almost forgot that this could be an elements of fashion design.

There are main colours he always choose, pretty essential for him, I guess.

Black/ Red/ Floral patterns on silk fabric.. and FELT was quite often used for his exclusive brand “Comme des Garcons”, guess that is the fabric help him to build a structural garments.

This was my second time to visit his exhibition and think it was another chance to understand him more.  Hopefully, this encouraged me to think further for my final project.

 

 

 

Bridget Riley

Bridget Riley is one of Britain’s best-known artists. Since the mid-1960s she has been celebrated for her distinctive, optically vibrant paintings which actively engage the viewer’s sensations and perceptions, producing visual experiences that are complex and challenging, subtle and arresting.

Riley’s paintings exist on their own terms. Her subject matter is restricted to a simple vocabulary of colours and abstract shapes. These form her starting point and from them she develops formal progressions, colour relationships and repetitive structures. The effect is to generate sensations of movement, light and space: visual experiences which also have a strong emotional and even visceral resonance.

Though her work is abstract, such experiences seem surprisingly familiar. During her childhood, when she lived in Cornwall, she formed an acute responsiveness to natural phenomena. In particular, the effects of light and colour in the landscape made a deep impression. Though her mature work does not proceed from observation, it is nevertheless connected with the experience of nature. Of her paintings, she has commented: ‘the eye can travel over the surface in a way parallel to the way it moves over nature. It should feel caressed and soothed, experience frictions and ruptures, glide and drift…One moment there will be nothing to look at and the next second the canvas seems to refill, to be crowded with visual events.’ This parallel relation between Riley’s art and nature has underpinned the development of her work, colouring the way it forms both an exploration and a celebration of a fundamental human experience: sight.

Riley’s work falls into phases or groups in which it is possible to see certain formal ideas being worked through. At the same time, however, her work has not followed a single, straightforward line of development. Rather, its course resembles a kind of musical progression in which different themes are stated, explored, combined with other ideas, and progressively transformed. The exhibition is therefore arranged in a broadly chronological order, and according to phases or families of related paintings. Within these groups internal connections can be discovered and ideas stated earlier can be seen reappearing in later works.

http://www.tate.org.uk/britain/exhibitions/riley/

accessed : 09 mar 2011

To someone like Bridget Riley, nature is a good place to find regularities with full of experience. At first , couldn’t understand her how could she find this kind of pattern from nature.. at that time, I was just looking at small tiny part of nature such a wing of butterfly and a surface of leaf. all of sudden, when I raised my head and look around the nature with broader sight, I just realised what she find here.

Draping made by hills,, mountain, and branches of trees. nature itself is a opt art thru artist’s eye.

on the contrary,, all of sudden, just Vincent Van Gogh popped up my head.

Why his scenery was so dizzy and full of chaos,

Just the way how two artist were seeing nature was too different.

Regularity vs Chaos.

anyway, other famous artist with opt art Victor says in his book.

“Movement does not rely on composition nor a specific subject, but on the apprehension of the act of looking, which by itself is considered as the only creator.”

Victor Vasarely in
The ‘Yellow Manifesto’ – 1955

I would like to found out what opt art is doing to him emotionally and physically.

This morning, I had telephone interview with a technician who is working at a printing factory and asked him several questions as below.

Yeonsook : What kind of fabrics are the most likely to get vivid effect like a photo ?

Sean Park : Basically , silk is the best material for digital printing.

Among various type of weaves , satin gets the most vivid effect,

because the surface of the fabric is even.  It is filament textile.

When a cartridge of printer

is passing on the surface of fabric, it spray dyeing stuffs onto the fabric

directly, so if the surface is even, it gets dyeing stuffs evenly.

Yeonsook : How about other silk fabrics?

Sean Park : Habotai and Geogette are not that bad.

If you don’t like shiny surface, you can use twill

since it reflects less light, it gets softer effect on reflection.

Yeonsook : Can any jersey fabric get same effects or better effects?

Sean Park : Well~ in case of Rayon and Cotton, dyeing stuff,

what the industry use for those fabrics, is  reactive dyes colour

It means colours cannot come up brightly.

So it’s difficult to expect any vivid effects.

In case of, Polyester, the industry uses a different type of dyeing stuff,                             which is disperse dye, So, Polyester fabric cannot be used for

digital printing.

instead, we can use  reproductive dyeing method.

Yeonsook : Can you get me some reference cuttings?

That will be very helpful to choose fabrics for my final projects.

Sean Park : Will see what I can do.

Yeonsook : Last question, what  your delivery is going to be?

Sean Park : We need 15 days after getting graphics.

Yeonsook : Thank you for having time with me today.

Will contact you if I come up with other questions

before handing in graphics

just figured out what range of fabrics I need to research and how much time I should assume to get this done.

Sean Park, Samwoo Printing Co., Ltd, Korea

Learning Plan

Wrist-Worn Techcessories

Will this be the starting point that a smart phone turns into a robot eventually? then, how many years will be taken? or am I thinking too much for predicting future which is unpredictable

Face windy day.

One day, I could see people covering their bodies with coats and mufflers against wind. Actually , the climate here in London is much windier than my country.

The high latitude and close proximity to a large ocean to the west means that the United Kingdom experiences strong winds. The prevailing wind is from the south-west, but it may blow from any direction for sustained periods of time. Winds are strongest near westerly facing coasts and exposed headlands.

That is why the UK became the country of Burberry.

The trench coat was developed as an alternative to the heavy serge greatcoats worn by British and French soldiers in the First World War. Invention of the trench coat is claimed by bothBurberry and Aquascutum, with Aquascutum’s claim dating back to the 1850s. Thomas Burberry, the inventor of gabardine fabric, submitted a design for an army officer’s raincoat to the United Kingdom War Office in 1901.

The trench coat became an optional item of dress in the British Army, and was obtained by private purchase by officers and Warrant Officers Class I who were under no obligation to own them. No other ranks were permitted to wear them. Another optional item was the British Warm, a wool coat similar to the greatcoat that was shorter in length, also worn by British officers and Warrant Officers Class I as an optional piece.

During the First World War, the design of the trenchcoat was modified to include shoulder straps and D-rings. The shoulder straps were for the attachment of epaulettes or other rank insignia; There is a popular myth that the D-ring was for the attachment of hand grenades. The ring was originally for map cases and swords or other equipment to the belt. This latter pattern was dubbed “trench coat” by the soldiers in the front line. Many veterans returning to civilian life kept the coats that became fashionable for both men and women.

During the Second World War, officers of the United Kingdom continued to use the trench coat on the battlefield in inclement weather. Other nations also developed trench coat style jackets, notably the United States and Soviet Union, and other armies of continental Europe such as FranceGermanyHollandPoland (and are often seen in war zone photographs in the 1939-40 era, even worn by troops on the attack), although as the war progressed, in the field shorter “field jackets” became more popular, including garments such as theDenison smock used by British commandosparatroopers, and snipers and the M1941/M1943 field jackets used by the US Army. These garments were shorter and more practical than the trench coat, and as such they allowed the wearer to be more mobile.[4]

A typical trench coat by this period was a ten-buttoned, double-breasted long coat made with tan, khaki, beige, or black fabric. Trench coats often have cuff straps on the raglan sleevesshoulder straps and a belt. The trench coat was typically worn as a windbreaker or as a rain jacket, and not for protection from the cold in winter or snowy conditions.

Now, I’m interested in transforming this idea.. Instead of protecting body, find a real way to enjoy wind.

Here is a student from the Royal Academy of Fine Arts – Artesis Hogeskool Antwerpen who got ahead of me.

I questioned about the designers who make non-wearable clothes all the time..

Is that all about creativity? sometimes it”s fun, and sometimes it”s ridiculous.

but this time, I’m sending my all supports for this.


This skirt project is called “Denim Dreams” and it takes a fantasy to reality (as much as a fashion school runway van be a reality). Hussein Chalayan watch out! Don’t mind the “wind” of creativity, it is student projects after all!
Just enjoy! I wouldn’t have it any other way!

http://www.bobbintalk.com/2009/08/skirt-experiment.html

Wikipedia, the free encyclopaedia.

What garment does to the body?