In uni we were given 3m of red fabric and told to play. The first thing I did was cut it into strips.
Tuesday, 23 October 2012
Monday, 22 October 2012
Some of my work!! Yvette designed and I made this beauty ages ago, and Francesca Cumani won best dressed in it at Goodwood racecourse.
Blogger is having a bit of a spaz with pictures at the moment, and because I changed laptops there isn't much I can do about it which is a pain.
Next week I am down in London to go for a conference and while I'm there I'm taking a course on how to make SHOES! from scratch!!! too excited for this, which is resulting in lots of sketchbooking for it. Also it means I will be in London for Halloween, and you would be a fool not to make the most of that, so have loads of outfit planning to do!
Wednesday, 17 October 2012
Just showing how the Lady of Gaga got hit up by Dali, Shiaparelli and Oppenheim
Skeletal designs by Elsa Schiaparelli; Lady Gaga performing; Elsa Schiaparelli's back view; Lady Gaga in her music video for bad romance OPPOSITE PAGE (clockwise from top right) Elsa Schiaparelli and Salvador Dali shoe design inspires Gaga's cubist telephone creations; Carrying a teacup as an accessory is inspired by Meret Oppenheim's "Luncheon en Fur"; Dali paintings like "the temptation of Saint Anthony" inspired this bizarre performance; Dali's Telephone inspires Phillip Treacy's Lobster Glasses.
Thursday, 11 October 2012
Tuesday, 9 October 2012
Sunday, 7 October 2012
Furthering my exploration of the ways that Art inspired Fashion, I decided to have a closer look at the relationship between Surrealism and Fashion. What became immediately apparent was that I would not be looking for ways in which they were similar, but rather ways in which they weren't. Indeed, the two were so closely linked that artists such as Man Ray and Giorgio de Chichiro (of the Italian Metaphysical school) were doing work with Vogue. Indeed, a brief description of an edition of Vogue from the time seems to imply that no page is without the influence of surrealism.
Schiaparelli was one of the most influential surrealism-inspired designers, often collaborating on certain projects with the surrealist greats (e.g. the Mutton Chop Hat, the High Heel hat and the Inkwell hat), but failed to be taken seriously as a designer because her creations were so absurdist. Like the surrealists, Schiaparelli used humour in her clothes to jolt her viewers, encouraging them to look again and re-consider.
Schiaparelli is often dismissed as merely a clever designer
who adopted, or even exploited the ideas of the Surrealists in her work, taking
their lead. Art historian Dickran Tashjian claims that ―Schiaparelli‘s
contribution lay mainly in transposing Dalí‘s Surrealist ideas to clothing,
yet I argue that Schiaparelli‘s work goes beyond mere appropriation, and is
deeply engaged with Surrealism. The importance of Schiaparelli‘s work in the
art world has been largely ignored and covered over. She was not a follower of
the Surrealists, but was their contemporary, part of their circle
It is important that we recognise when Art is leading Fashion and when there is a dialogue between them, as is the case with Elsa Schiaparelli and Dali and between Picasso and Coco Chanel.
Pehaps one of the reasons Surrealism and Fashion became so closely linked was that at the beginning of the 20th century they were both struggling to find a balance that allowed them to be commercial, without being commercially lead. The problems of making something high end and one of a kind was that they could be copied and mass produced, bringing the value of the original far down. Fashion designers uses labels while artists sign their works- in essence these are very similar processes. Equally, in the interest of commercialism, Art borrowed from fashion the idea of creating magazines which sell their product.
 Victoria Rose, "Strange Glamour; Fashion and Surrealism in the years between the World Wars", Chapter 1 https://urresearch.rochester.edu/institutionalPublicationPublicView.action?institutionalItemVersionId=14396
 Dickran Tashjian, A Boatload of Madmen : Surrealism and the American Avant-Garde, 1920-1950
(New York: Thames and Hudson, 1995), 84
 Victoria Rose, "Strange Glamour; Fashion and Surrealism in the years between the World Wars", Chapter 1