A look from my Graduate Collection, Disconnect, Fall 2014
Now having studied fashion for almost five consecutive years, I have a long list of concepts that I have used to build anything from one piece of garment through to capsule collections. As a designer I feed of these things I have taken an interest to, and exploring the greater meaning of it, it’s relationship to me and the world around. For example, the final collection I produced in my undergraduate course was inspired by the cinematic world of Alfred Hitchcock, by the stylistic features of film noir and the theme of voyeurism. Much like Siki Im, I turn to a lot of theory during my research phase (philosophy, psychology, psychoanalysis readings, feminist readings, to name a few). It is not necessarily because I am then able to draw garments directly from this, but that it opens my head to new knowledge, experiences, questions which channel a certain creative energy for when I develop designs. These concepts seldom translate literally in my work. I doubt people looking at my work could ever really pin point what my starting point was and where I took inspiration. Similarly Siki Im discussed how his concepts are there to help him create his “images” (because more than fashion, we are image makers), and that a viewer can simply enjoy the garment for the objects they are, rather than all the ideas that might be embodied in it. And this is, I realised, how I feel. In my current project, which I have just wrapped up, I began at (funny enough) my own interest in science fiction, and how the genre’s attitude has evolved from it’s beginnings in pulp magazines to the way in which it predicts the future. In the process, I must have checked out at least 15 books, and a folder of images from the picture library. No one will be able to see the books I read, or the images I pinned onto my mood board. However, I have evolved once again as a designer through these processes which will (I hope) show through.
This idea is how I connected Siki Im’s lecture and my personal processes to this week’s Deleuze reading, The Fold, and it’s prevalent idea of the interior and the exterior.Deleuze characterises the interior and exterior to be of “an infinite receptivity and an infinite spontaneity” (p. 242) where the exterior facade “receives” while the interior is “chambers for action”. Although, our concepts may not be transparent as such, it inspires a “new harmony”. One of things I took away from Deleuze is below quote, and how beautifully the prose works.
“The conciliation [the interior and the exterior] of the two will not be direct but necessarily harmonious, inspiring a new harmony, the same thing, the line, is expressed in the rising of the interior song of the soul, by memory or by heart, as in the extrinsic creation of the material of the musical score, from cause to cause. But the face is precisely that – the expressed does not exist beyond its expressions.”
(Deleuze, The Fold, p. 242)
Current work (Swarovski Project), inspired by science fiction