Category: Fashion Research

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.

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.

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!

Wikipedia, the free encyclopaedia.

What garment does to the body?

코끼리가 냉장고에 들어갈 수 없으니 , 냉장고가 코끼리에 들어가다.

Which is easyer??? to put an elephant to  a refrigerator, or to put a refrigerator to an elephant?

Fashion identity

Exhibition: Aware: Art Fashion Identity, Royal Academy of Arts, London, until January 30 2011

The start of 2010 shook the fashion world when British designer Alexander McQueen took his own life. An expert in tailoring, McQueen’s collections showed a chilling fascination with the afterlife, religion and Medieval times.

Designers may create something interesting to look at and wear, but there is an undertone to what that garment can represent. McQueen, for instance, mixed female strength with fragility into his emotional yet provocative pieces.

The Royal Academy of Arts’ latest exhibition has chosen 30 artists and designers from all over the world – including McQueen and his red lace dress from Joan A/W 1998 – to share their visions of social identity.

Having split the exhibition into four major themes – story-telling, building, belonging and performing through clothes – each of the artists’ pieces reflects their own individual situation.

Across the first room stands an eye-catching gold dress that shines in natural daylight. The ballgown looks seductively beautiful, but is actually constructed from menacing, spiked dressmaker pins.

Susie MacMurray’s piece, Widow, 2009, juxtaposes her emotions of sensitivity and beauty with aggression. It seems that fixing each pin together was perhaps a ritual for MacMurray to protect her femininity.

Andrea Zittel tells her story, A-Z Fibre Form Uniforms, 2003-6, through a series of mannequins in dresses. Zittel lives in a remote part of the Californian desert where a lot of refugees hide.

Video projection Sixty Minute Silence, 1996, by Gillian Wearing, shows 26 people in police uniform and has a sense of collective identity on the surface. Looking closer, though, we can see hidden individuality in these characters. They may all be dressed the same but as they blink, yawn and fidget we can see how personal movements separates them.

Installation piece Son of Sonzai Suni, 2010 by Hussein Chalayan, shows a contemporary dress inspired by the ancient Japanese tradition of Bunraku puppet theatre. The dress has Asian characters stitched into it, and is on a statue walking down a runway.

Three black figures surround the dress, each grasping at it, as if it is a puppet on their strings. It feels as though Chalayan is trying to manipulate the fashion industry – an industry that controls and dictates what we as consumers should be interested in.

There is no better way to end an exhibition on art fashion than with the subject of nudity. Marina Abramovic’s film Imponderabilla, 1977, comprises footage of everyday people walking through a doorway of a gallery in Bologna, squeezing past naked bodies.

Abramovic catches their reactions and reveals society’s relationship with clothing and the taboos surrounding nudity.

These works highlight how we use clothing as a way of communicating elements of our identity. To most of us clothes are practical and functional, but these artists and designers have explored that subconsciously we use this material to express our aspirations and desires.


When we go to the universe in the future, what will happen?

Even if scientist develop epoch-making equipments that enable people teleport down to other planet, it will still be a long journey.

Where we can get materials to make a garment?  Luckily, if we can find a planet that has similar atmosphere of the earth. it’s possible to set up the facilities just like what we have on the earth.

Still looks very far to achieve.  Should we pack hundreds of thousands of garment for space travel?

Under the assumption that scientist develop  some  kind of substances  make bubbles not easy to pop and quite sustainable in the air by touching surroundings. also it should in various colours.

What is good things about bubble?

* It’s gone quickly when we have a shower, so we don’t need to worry about how to deal with vast amount of rubbish.

* applicable for every designs.

* not much materials need to build a garment.

Here is my BUBBLER project.

It is a kind of machine fit people i a beautiful bubble clothes.

Are you imagine this? no way,, then every body will be a Lady Gaga on a stage.

How to meet ” Bubbler”?

Find the nearest bubbler , then choose and purchase your favourite designs.

Then, go to Bubbler booth.

There are nozzles installed in a booth and it send out bubbles and place onto your body as programmed.

What yourself will be ?

Ready to go to a party in space????  : )

This is tangible project at this stage, though, it is worthy to think about for the future, since the amount of resources are running out of its reserves.

It is the time to think about future fabrication something is sustainable to be supplied in the future.



Though 2011 will see us move still further from the economic woes of recent history, don’t expect a massive change in the tangent of fashion: the major excesses of the last decade are gone, and 2011 will see us, rightfully, continue on with a drive of subtle consumption mixed with obvious quality. 2011 fashion trends will accomodate the fact that we’ll be buying less but spending more. That means less bland, and more quality. Fewer indulgences, but better statement pieces. And what will those statements pieces and trends for 2011 be?

Key Looks by desingers

Burberry and Balmain

Biker clothing

Burberry and Balmain were nspired by Motorcycle chic.

As of spring 2011 the military fashion trend will have been with us for over a decade. And for that decade it’s been great, we’ve loved it, but 10 years later we have to admit: spring 2011 is the time to move on. The question is: what do we move on to? The answer: the trend that’s been living in its shadow, waiting for its moment of glory. And for spring / summer 2011 it’s going to get just that because here comes the biker trend.

Rider Jacket was in fashion from 2009 and next year more detailed biker clothings will come.

Prada & Balenciaga

The pieces are fresh above all else and combine functional silhouettes with dazzling hues. Bright colors anchor the collection and are seen in expertly tailored suits and striped dresses and skirts, making the pieces wearable. Prints are quirky featuring monkeys, bananas, curlicues and cherubs, creating a sensory overload that is impossible to look away from.

Other added factors of playfulness are the accessories. Creeper-like platforms create an unusual juxtaposition to the femininity of the ready-to-wear and sky-high sandals and pumps mimic the prints featuring curlicues and stripes. Huge fur stoles in eye-popping colors accompany most looks for a perfect transition from chilly weather to warmth.

Though much more over the top, Spring 2011 is not so drastically different from Prada’s Fall collection in terms of silhouettes. The glamour and the sensuality is still there, just exaggerated with the bold prints and hues. Any woman daring enough to be seen in these pieces will surely not be missed.

Let other designers focus on wardrobe basics; at Balenciaga, it’s fashion with a capital F. Working with ideas that could be mundane in other hands—volume, sports, menswear—Nicolas Ghesquière has turned out the boldest pre-fall collection we’ve seen so far. Jackets and coats, some printed with palm tree or geyser motifs, have Cristobal Balenciaga’s signature curving, egg-shaped backs. Sweatshirts are made from jersey fused to high-tech foam and paired with double-layer minis, while smock tops are cut in windbreaker nylon and worn with track pants in wool jacquard. As for the masculine influence, it can be traced in the sloping, oversize shoulders of a jacket laser-cut above the waist.

But color, such a strong theme this season, was the first thing you noticed at the label’s New York presentation. The models wore towering platforms inspired by the French industrial designer Charlotte Perriand and patchworked together from swatches of bright leather, metal, and wood. On their legs, meanwhile, were yellow, red, or green tights spliced vertically with opaque and sheer sections. Yes, the hosiery will be for sale, and for a very nice, under-$100 price.


Continues their feminine look for 2011 s/s.  They have done something with pleats.

Oversize Shoulder

Seems oversize shoulder affected many designers. the skinny short jacket evolved into power shoulder jacket last year, now it become oversized shoulder.

Jill Stuart

Thigh high boots

Or over-the-knee boots.

Thigh boots are considered by many to be erotic or kinky. They are used as fetish clothing in boot fetishism and shoe fetishism.

Always fashion goes to extreme to extreme

When it start from skinny style , it evolves to oversized item and it goes back to original.


Emphasize beauty through use of color. Find inspiration in the world of flowers. Love gold, bronze and all warm metallics. Go for simple, basic shapes in complex final products. These are just some of the rules of Symmetry, our multi-platform forecast for Spring/Summer 2011 offering seasonal inspiration for men’s, women’s, active, cosmetics, interiors and industrial design. Containing key color directives along with visual inspiration, suggested color harmonies and individual swatches of each of the forecasted colors.

Citing exotic destinations like Africa, India, Peru and Turkey as inspiration for spring 2011, designers continue to satisfy consumers’ need to escape everyday challenges with intriguing color combinations that transport them to foreign lands.

“The colors designers have chosen for the spring season present an interesting marriage of unexpected warm and cool tones,” said Leatrice Eiseman, executive director of the Pantone Color Institute®. “By cleverly combining complementary colors, those that are opposites on the color wheel, they have created a striking intensity to the palette. These unique color combinations make it possible for consumers to pair existing pieces in colors traditionally associated with fall, with new favorites to punch up springtime wardrobes.”

Flirtatious Honeysuckle is a feel-good hue that brings a festive sense of playfulness to this season’s palette. This vibrant pinkish-red for both apparel and cosmetics makes consumers feel alive, and is a perfect post-winter pick-me-up.

Spicy, gregarious and persuasive describe Coral Rose, a sophisticated orange that, much like Beeswax, a warm, honeyed yellow, conjures up feelings of faraway lands and locales. Pair either of these piquant hues with a cool, refreshing color-wheel opposite like Regattafor a vibrant color combination that will add zest to any wardrobe. Romantic, fancifulLavender implies sensuality with its subtle hint of red undertone. Combine it with Beeswax or Coral Rose for a unique counterpoint.

Alluring Blue Curacao evokes thoughts of tropical destinations and pays homage to the 2010 Color of the Year, Turquoise. Practical consumers can continue to incorporate enticing Caribbean blues into spring by pairing Blue Curacao with warm, complementary colors like Honeysuckle or Coral Rose. Peapod, a fresh yellow-green, brings an organic element to the palette and is reminiscent of the green shoots that signify change and new beginnings traditionally found in spring.

Trans-seasonal neutrals ground this season’s palette and provide a stable backdrop for all the other colors. The so-called “nude hues” are represented in the range of ethereal Silver Peony to dramatically deep Russet. Another dependable background color, Silver Cloud, is the quintessential neutral that consumers can rely on to coordinate with everything in their closet.

For 17 years, Pantone, the global authority on color, has surveyed the designers of New York Fashion Week and beyond to bring you the season’s most important color trends. This report previews the most prominent hues for spring 2011.

Engineering Print for Garments means

A certain Motif should be place in a certain part of garment.

                                                        Engineered Fabric design.

[A dress with a placement]                                                   [Factory marker]

This cannot help inefficiency on fabric usage.  From the planning stage , designers should collaborate with graphic to reduce wastage of fabric consumption.

Why desingers want engineering print for a GARMENT?

                                                    [Alexander Macqueen 2010]

This technique gives an identity to designers , who they are , where their inspiration comes from, for their signature line. 

What is the proper process to make a efficient garment ?

*  Need garment patterns so that graphic can have an idea of a scale.

*  Give an exact idea to pattern maker of motives placement with actual grahic size.

Compare this with all over print !

Allover print : means pattern panels can be place everywhere with great efficiency of fabric.


[an allover print dress]