Aware: Art Fashion Identity

For the last couple of weeks I am catching up with puting up my posts, as you know I am a Procteroid and my day job took most of my energy during last couple of weeks. But this is something I definitely wanted to share with you. During my stay in London I went to visit the exibition "Aware: Art Fashion Identity" at the Royal Academy of Arts.

I was most impressed with Hussein Chalayan's ‘Son’ of Sonzai Suru, 2010 who cooperated London College of Fashion students on instaling this construction. I choose to write about this as it connects my key interests - fashion & technology. Sitting by this installation was at the first glance creepy due to "ghosty" movement of the dress and how real the ninjas looked.

 You can watch this creation's instalation process video here.

In this installation Chalayan uses Bunraku theatre, a traditional form of Japanese puppet theatre, to examine the manipulative element of the fashion industry. The beauty of the dress is evident, but the controlling figures around it invite us to consider how our perception of the value of fashion is managed by its presentation. The piece demonstrates Chalayan’s ease in bringing together different cultures and creative disciplines.

I also loved the Yoko Ono's video performance piece where people were invited to one by one cut a piece of her clothing of of her.

Yoko Ono first performed this piece in Japan in 1964. She sits motionless on a stage while the public are invited to cut her clothing. Closely in tune with the second-wave feminist movement that began in the 1960s, the work explores women’s emancipation from constraints on their identity represented by clothing and encourages respect for the female body. Ultimately, it also suggests the value of nakedness as an expression of identity in its purest form.

Lastly, I apsolutely loved the Susie MacMurray Widow feminine but up close aggresive widow dress made of leather and needles.

The elegance and feminine beauty of this dress is seductive, but on closer examination the aggression of its form becomes clear. Pins have strong associations with female craft, as well as connotations of pain. The leather replaces traditional dress fabric and represents skin, which is both sensitive and protective. Based on the human (and in this case female) reaction to grief, the work articulates the isolation that such an experience can bring about, how such extreme emotion can cause someone to repel the empathy or intimacy of others.

"I saw that nothing was permanent. 

You don't want to possess anything that is dear to you because you might lose it. "

Yoko Ono 

I SPY: London.

     Last week I spend a few days in London. Other then meeting with Mr. Louis De Gama, a friend and one of my favorite fashion designers for a lovely dinner & a beer (yes I tried a beer first time in my life - didn't like it, I prefer wine) I also had time to go to Portobello market on Saturday morning & visit some other important places like Harrods & other Oxford street stores ;).

My co traveler diva & a friend Antonija was understanding enough to deal with my constant nagging about how cold I was and stopping by every single vintage shop (and mind you there are many) to try out & go through piles of fabulous clothes, furs and purses "with a soul" how I like to refer to vintage clothes.

I was mesmerized with the amount of fabulosity of my vintage finds but also shocked with their prices (almost the same as regular retail). I guess there are other vintage places to visit and find more affordable vintage pieces like I know there are in NYC, but seems like I am more familiar with the City's vintage shopping scene then I am with London's - for now. 

I tried to photo capture the fabulosity I was surrounded with to share it with you. 

Enjoy lovelies :)

Designer quicky: Louis De Gama

1.What kind of women is Louis De Gama women?

A strong woman, which is not afraid of expressing her sexuality and personality. A woman uses clothing as an expression of her moods, that can be vulnerable and fragile(lace, silk chiffons) or strong and business minded (leather and mix wool/leather constructions) or a mixture of both, but nevertheless uses fashion as a expansion  and identify projection.

2. What is your vision for your brand in terms of growth?

World dominance, louis de gama was primarily set up as a brand name, which has the potential to introduce other lines and create a life style brand identity.

3. Other than having your own company and your store location in London, you are also a fashion school professor, what role is your primary role and why? 

I am primarily a fashion designer, I only happen to be a teacher because I have a fashion business and there is a crucial need of industry people in academic roles for a more realistic approach on teaching. My contribution to the students is that they keep their feet on the ground and gain insight on the industry. A student development isn’t complete without that and also working placements in the industry has to be a inclusive module in any creative course.

4. When you look at kids coming out of fashion schools today, considering todays economy and talent pool what do you see they are missing and what is their advantage vs. previous generations? 

I think with the ‘overture’ of fashion and all the technologic advances of today, fashion has become much more accessible at the touch of the button for everybody! I think there shouldn’t be no excuses for lack of contemporary awareness, it doesn’t matter if you live in a remote city in Africa or Asia or in the Paris, as long as the internet is available you should amass the same knowledge. So there are no excuses for lack of contemporary awareness, but going back to your question….ermmmm I think I have answered it already!

5. How many fashion shows do you do a year and does it pay off financially? Why do you do them?

I do about 3-4 fashion shows. I am mostly invited as a guest to showcase my creations. I guess my collections must have an international appeal!!!(trying to be modest!!!)

6. What do you think about this years Dreft Fashion Week Zagreb? 
What are the good things this year vs. previous years and what are the opportunities for growth? 

I was so positively surprise with the last Dreft fashion week. The venue looked the part, it exuded international standards both the runaway and the VIP area, the production was superb, the amount of helpers we had to deliver the show was fantastic. 
The production team was very professional. Well done to the organizers, that is definitely the way forward and to a certain person that pulled and demanded change. Croatia should be proud to present such high standard fashion event  specially considering the apparel  market segment is still considerably low, comparing to other major fashion capitals in the world.

The only criticism is exactly that: fashion does not exist without sales, no designer can create and realize its creations without funding therefore it’s about time a sales exhibition runs alongside to  the event. 
The only way the fashion industry will ever grow in Croatia is if organizers start looking at commercial side of it, at the business side of fashion rather for status and elitist purposes. It is a huge task, but one that needs consideration and mutual consensus by the responsible organizations/institutions.

7. What is your impression of Croatian young designers which you had opportunities to see/grade and spend time with in Croatia during their contest event? Who would you identify as special talent to watch and follow?

Awwww, there is so much  young talent  in Croatia. We the judges of "Modni Ormar" were so impressed by the sheer genuine passion and commitment of some students. I will not mention names because I might appear to have favourites, which would not be a professional practice, but talent is immense in Croatia.
Please support these kids as their talent is too precious to dissipate and waste.

8. What are your future plans for your brand? 

Always expansion, bring more lines and welcoming a business backer, so if anybody with fashion flair is reading this, feel free to contact me.

9. How would you describe your style and what drives and inspires you for collections? 

I’d say my style is a little eclectic, mostly because of my mix background, but eclectic sounds a little pejorative, I think in the creative battle to mix different elements/materials together harmoniously resides Louis de Gama ethos and trade mark which combines a feminine silhouette and a aim aesthetic.

10. How does your brainstorming process looks like in between collections do you have the team you work with? 

Most of the collections starts with a silhouette in mind, and it is always an exasperation for an aesthetic and them the harmonious mixture with the fabric and trimmings. 
Never a rigid theme, always ever evolving  to aim at the aesthetic! 
Emotions, beauty, technical skill and resources come to play here. it is always a very challenging process and incredibly rewarding! 
There are always 5-6 people working in my atelier on our daily tasks.

RIP Lee

Today is a sad, sad day for the fashion industry. Alexander McQueen has killed himself. A little while ago his mother has died who he has been very close with, he had a very hard time managing the depression and finally he has sadly decided to take his own life.


Please see my favorite magnificant pieces from his last Resort 2010. collection bellow.
It will be so wird watching his collection for Fall without seeing him running out at the end :(


Alex,


you will be gratelly missed, your heritage remains.

"I think the idea of mixing luxury and mass-market fashion is very modern — wearing head-to-toe designer has become a bit passé. It’s a new era in fashion — there are no rules. It’s all about the individual and personal style, wearing high-end, low-end, classic labels, and up-and-coming designers all together. "

~Alexander McQueen ~

Xoxo,


           Kat