What a girl!!
So much prettier backstage than on the runway, Marchesa is always so super feminine. I love!
Sometimes I see something in fashion that just reminds me why I love fashion so so much. Nadine Goepfert is living in another universe, and I want to go visit.
The project "The Garments may vary ." emerged against the backdrop of the subject of conservation, the related techniques, purposes and the associated idea of capturing a certain condition or moment of a naturally changing object.
The combination of a textiles ability to frequently change its form and the possibility of capturing moments and traces through the process of wearing it is the core of this project.
"The Garments may vary ." is a collection of textiles that are not only flute or worn out but actually change their form, structure, volume, motif, and colour while ordinary usage. The project investigates the daily usage of apparel and the associated movements of the person wearing it. These movements are accentuated and partly captured within the materials and surfaces of the garments. Each of the materials chosen is used to highlight a different form and duration of change. The garments seek to temporarily or permanently capture the traces, movements and behavior patterns of the wearer.
Besides that, the aspect of leaving a garment behind just after undressing is of particular interest, since it transforms a garment into an almost abstract sculptural object that almost no longer remains noticeable as an actual garment.
"what is the essence of a pair of pants (if it has such a thing)? Certainly not that crisp and well-pressed object to be found on department-store racks; rather, that clump of fabric on the floor, negligently dropped there when the boy stepped out of them, careless, lazy, indifferent. The essence of an object has some relation with its destruction: not necessarily what remains after it has been used up, but what is thrown away as being of no use." — Roland Barthes
When taking a look at the garments on hand, there is a noticable shift towards the sculptural object since the designed surfaces as well as the materials used are ment to irritate the idea of a conventional garment, even though each of the garments is based on ordinary, wearable patterns.
Since all the garments are balancing on the border of wearability and abstraction they allow the viewer to go beyond their definition of a garment. They allow a close examination, an examination of their essence (if they have such a thing.)
Photography — Sanna Helena Berger
Graphic Design — HelloMe, Till Wiedeck
Patterns — (in Collaboration with) Lisa Haag
Hair & Makeup — Maike Bokma
Models — Alma Reuter (Viva), Lisa (Izaio), Kristin Keil (Viva)
Zaria Forman will likely take your breath away.
Zaria Forman’s pristine, photorealist paintings of the ocean and remote, icy landscapes are painted by hand—quite literally using her fingertips to render marks in paint and chalk, rather than brushes. Traveling to far-flung corners of the globe affected by climate change, in order to source inspiration for her large-scale compositions, Forman takes photographs and creates sketches, working from these and her memory in the studio after she returns to the US. Past expeditions have included one to Greenland in which Forman retraced the 1869 journey of the American painter William Bradford. “In my work I explore moments of transition, turbulence and tranquility in the landscape and their impact on the viewer,” she has said. “In this process I am reminded of how small we are when confronted with the powerful forces of nature.” Her work has been featured in the set design for the Netflix series “House of Cards”, as well as in set designs for the ballet performances.
When I saw this last image I literally started crying. This artwork is soulful, and her fingers are magical.
Prints and actual art available here:https://artsy.net/artist/zaria-forman