Studio. Following a lot of discussion over the weekend and brainstorming, I think that everything has slotted into place conceptually. We are interested in the idea of subverting the frill. Wrote sketchbook entry: “The purpose of the frill: To decorate the already made structure. To form part of the structure. The frill tries to become structure, but struggles. The frill should subvert itself and its use as decoration: for example a frill may have its own frill. A frill may be part of a functional part, but also may hint at a function: a collar, a pocket, a may or may not operate… The purpose of print: To enhance structure. To defy structure.” This now forms the basis for the entire collection. Also been toying with the idea of the maker’s mark – am interested in the marks left by different processes in the making, the journey of each piece. This idea came from looking at porcelain at the very start of the residency. Still not entirely sure of the nature of the print, but still feel that seeing the bizarre silks may have some subliminal effect on the end product.
Archive for March, 2006
Feeling rather confused about how to take things further. Designer’s block, and feel as though my senses have been overloaded. Decided that on Friday we would go fabric and trimming sourcing instead of trying to work through any other design ideas, shops included MacCulloch & Wallis as well as Joel and Sons, but we also squeezed in some coffees, and some decent rummages through Vintage Modes in Gray’s antique market and some vintage collector’s stalls in Alfie’s market.
Opened my mind to many new perspectives that were needed in making decent fabric choices. As I mentioned before, there are effectively 3 stories and I feel that 2 of the three are now fully resolved. At the weekend, David and I discussed the importance of the muse in trying to define these stories.
Have decided to take Derya to the modern stores today to help me to photograph pieces etc. Vicky chaperoned us. The first time I had been in the stores with Vicky, I asked which pieces were most frequently requested and she mentioned that she had shown the Dior bar suit most often to members of the public.
Not wanting to risk losing out more than anything I decided to view this ensemble first. I felt the way I felt the first time I had ever seen the ‘Mona Lisa’: in awe and here I was handling this magnificent famous piece of fashion. I know that Derya felt the same. We measured up the piece for future reference.
We continued to another jacket, which Dior created that same year - a grey woollen jacket with oddly concealed seams and pockets and a most interesting collar. Continued in the store looking at an Ascher piece featuring a commissioned print by Feliks Topolski, as well as a Lanvin georgette dress with leather surface embellishment.
That afternoon (with Kate as our guide) I decided to look at some Baroque pieces in the fabric stores. Studied the surface embellishment on these pieces, which made me realise the importance of the surface in my own work, something which I often overlook in favour of the pattern or style lines. Later that afternoon we continued looking at haberdashery items, 18th century shoes and hats.
Studio. Loads of administration to do and have given Stephen the job of catching up on all my emails and administrative ends that needed tying up. Began working through some dress ideas. Have been very inspired by some images of the latest Viktor & Rolf show. I have always loved their work, ever since I had first heard of them before I had started my MA, before they first began to make waves on the fashion scene.
Working between the LCF and my studio. Trying to resolve some shape ideas. Jackets mostly. Happy with progress. Took Derya to work in the MA space at the LCF. Saturday went to Portobello mostly to look at porcelain bits and pieces, but also some garment research.