Task Two - Research - Free Cutting by Julian Roberts

While on Pinterest I came across an image of way of pattern cutting manipulation called Subtraction Cutting. 

This is a class taught by Julian Roberts a renowed fashion designer and film maker who has show in London Fashion Week several times and the five time winner of the British Fashion Council's New Generation Award. 

Many garments are created by flat (traditional) pattern cutting methods or draping fabric over a mannequin.

Substraction Cutting is a method where a hollow construction is developed into the pattern that uses the negative spaces in patterns, turning the usual garment style to a combination of traditional pattern construction and draping producing unique shapes and styles.





After further research into this technique, I can see a link between this method and my theme of Traditional Japan. The draping in the garments produced could represent the folds seen in the art form of origami. 

I intend to experiment with this technique after finding this guide produced by Julian Roberts:
http://www.mediafire.com/view/10d8kgbkp1yxc88/FREE-CUTTING-Julian-Roberts.pdf

The guide gives a introduction to the technique and explains how the method works and how to apply it to your own work.

I think subtraction cutting would give my work a new edge that I could link to my theme making my work more successful then using the traditional method of pattern cutting or draping. 

Task Three - Development - Fashion Illustrations

After my group critique this morning I created these two designs on Illustrator to reflect the feed back  was given. I have use the advise of changing the colour pallet and structure of garment to be be more flawy were the pleats and fold fall naturally. 

In these two design I have taken inspiration from the designers Yohji Yamamoto and Issey Miyake and their work that I have pinned on my Japanese Inspiration Pinterest board. 

The pattern element for these designs came from a photograph I worked on previously in the Fine Art roundabout. 

I have left some of the illustration without pattern to shown the layering of the garments. However I really like the patchiness of the pattern adds aestheticly pleasing element to the designs. 

Task 2 - Research - Sandra Backlund

Sandra Backlund is a swedish designer who specialises in sculptural knitwear. Founding her own brand in 2004, Sandra Backlund's designs have a architectural aesthetic take on a historical medium, winning her awards such as the 2007 Grand Prix winner of the Festival International de Monde and Photographie in Hyeres, France and the 2010 Swedish Elle Award. Backlud's designs accentuate and exaggerate the female form, producing a futuristic quality to her clothing. Her manipulation of wool creates sculptural moving art and through her choice of thick yearn each stitch can be seen creating an abundance of textures.

Personally, I find Buckland's work to have a origami aesthetic approach that is "out of the box" and unique to traditional knit designers. Her use of sculpture has a layered quality that is hard to incorporate into classic knitwear that I admire, giving her work a contempory edge. 

All images from:
http://sandrabacklund.com

Task 2 - Research - Limi Feu

Daughter of the award winning and influential Japanese fashion designer Yohji Yamamoto, Limi Feu has followed her father's foot steps into the fashion world. 

However her choice "LIMIfue" as her design label after coming across the word fue in a French dictionary, suggesting she wanted to make it on her own then rather off her fathers already established label.

Starting her label in 2000, she showcased her work from 2000 to 2007 in Tokyo Fashion week before making her Paris debut in October 2007's Paris Fashion week and breaking into the western fashion world with great praise from critics.

Her designs have characteristics of a darker colour pallet, use of layers, large volumes and asymmetry, a clear influence of her father's designs. However, where Yohji Yamamoto's design are typically more romantic, Limi Feu's are a little more street wear inspired with a rock attitude ambience to her clothing.

I admire the empowering famine yet edgy shapes of her designs. Due to her mostly darker colour scheme, if I could afford it, I do believe I would wear her designs. This collection seems to have a punky-meets-orintal quality that is enforced it the style of the hair and cutting edge designs.

These images are of her latest collection Autumn/Winter 2014-2015 from:

http://www.limifeu.com

Task 2 - Research - Givenchy Spring 2011 Haute Couture

Riccardo Tisci, the creative director of Givenchy, appointed in 2005, is continually exploring uncharted territory for the Parisian fashion house.

The Spring 2011 Haute Couture isn't a couture show in the conventional sense. The ten garments created have never been seen on a runway and were exhibited more like art work, which I guess they are. Only by showing his work in this style, using only Asian models, could the viewers really see the amount of time and effort gone in to each design. The delicacy of the handwork in the beading and the elegant appliqué and embroidery could not of been seen on a catwalk so this was the best possible way to display this collection. 

The pastel colours used in this collection are a modern traditional of the spring colour scheme that have always made me think of dried flower petals.

Tisci took influence from the traditional Japanese art of 'Butoh', and this collection could almost be seen as an abstract homage to the late master of the dance art, Kazuo Ohno.

Some of the looks were completed by elaborately handmade head pieces by Philip Treacy, showing Tisci's fascination with Japanese robot toys.

To clearly define the influence of the Japanese culture through the ten garments, the use of the crane, a symbol of femininity and immortality in the Asian culture.

Tisci has managed to give the awe-inspiring garments a lightness feel even though each floor-sweeping gown is richly fabricated by layers of heavily worked materials, some dresses took thousands of hours to complete. 

This collection is persistent in the way his past couture collections have been elaborately detailed but is contrasting and a departure from the more gothic designs he has produced.

Fabrics Used:
satin, tulle, georgette, satin, organza, muslin, feathers, sequins, leather, crystals, lace

Images from:
http://www.vogue.it/en/shows/show/ss-2011-haute-couture/givenchy

Task 2 - Research - To Dream Of Japan

To dream of Japan: Fashion Photography by Tina Patni for Amato Haute Couture.

Tina Patni is a fashion photographer based in Dubai, United Arab Emirates. 

This creative stylised collection of photographs has a clear Japanese, almost 'geshia-ery', influence flowing throughout each image. 

 Created by Tina Patni for Amato Haute Couture, these photographs have intense oriental concept with a aesthetically modern appeal that is clearly shown thought the series. 

The soft shot of the photographs mixed with the contrasting bold make up and pops of colours from the props used captures the viewers eyes.

Photographer: Tina Patni

Designer: Amato Haute Couture

Make up artist: Gene Ginno Alducente

Hair Stylist: Jojo Padua

Images from: 

http://amatohautecouture.com/campaigns/orientalismo/

Task 2 - Research - Hiroko Koshino

Hiro Kohino is a Japanese designer who established her own label in 1964. In her work you can see a link between Japanese culture and Western styles. 

The tie around the waist (called the obi) reminds me of the traditional Kimonos worn by all the Japanese up until the mid 19th century.

The start of her collection was mostly black and I think that is probably what I like the most about this collection, because that is to my taste. To me, the styles and shapes of the garments say more because they are simpler and that the design of the garments stands out more.

The other half of the collection has more of a pattern element to the designs but still keeps a similar theme flowing throughout the collection in her use of style.

The print patterns she has used have a traditional feel because of the natural theme that is seen a lot in historical Japanese clothing. 

I admire the mix of tradition and futuristic design elements in her work and in my opinion she has found the right balance between the two opposite influences.

When designing my collection I will try to incorporate the balance that Hiroko Koshino has managed to perfect in her work. 

These are a few images from her Fall Winter 2009/2010 Ready-To-Wear collection. 

All images are from:

 http://www.vogue.it/en/shows/show/fw-09-10-ready-to-wear/hiroko-koshino/collection/235593

Task 2 - Research - Suk-Hyun Hanbok

Strictly speaking Suk- Hyun Hanbok isn't a Japanese designer but actually a Korean fashion designer. 

However I find that traditionally Chinese, Korean and Japanese (Eastern Asia) cultures are sympathetic and been influenced by each other over the time. 

 


Suk-Hyun's designs are all heavy layered with a recognisable East Asian print pattern. 

The term Hanbok translated means tradition dress, this means that Suk-Hyuns designs are the traditional style but with a contemporary twist by, from what I can tell, the choice of fabric, vibrant colours and patterns used. 

The designs also give a nod to more traditional Hanboks by the use of decoration through embroidery as well as pattern woven fabrics.

To me, the patterns are all quiet natural and fresh because of they are floral and leafy shapes, giving the heavy, almost bulky clothing a softer feminine touch.

However, despite the Hanboks being a little 'bulky' and having a awkwardness to them, I like the shapes and styles of them because it has that traditional quality. Personally I've always found that the traditional side helps inspire the ideas for my work and this style will no doubt influence my future work.


All images from:
http://sukhyun.co.kr/new/