O H H I E S Y D N E Y
Day 1
Landed in Sydney on Sunday and on Monday morning headed to the Rocks where Mercedes-Benz Fashion Festival was being held. This was the beautiful view we were treated to as well as some beautiful weather, thanks Sydney.
Tried to make Romance was Born but missed it, 9am was way too early
Then saw Lisa Maree at 10am in the tent, was not impressed, lacking any WOW factor
W O O L M O D E R N
We were very excited to go see WOOL MODERN. We were also very luck to be able to catch the exhibition when it was at pier 1 before it moved, such a beautiful location for this exhibition, we practically had the whole space to ourselves, no one was around to get in the way of my picture taking.
We were very excited to go see WOOL MODERN. We were also very luck to be able to catch the exhibition when it was at pier 1 before it moved, such a beautiful location for this exhibition, we practically had the whole space to ourselves, no one was around to get in the way of my picture taking.
QUEENS CHAIR
ISABEL BERGLUND
2011
LEFT DRESS
CAMILLA AND MARK
2012
SECOND LEFT
SLEEPING BEAUTY
KINDER AGGUGINI
AUTUMN/WINTER 2010/11
READY-TO-WEAR/KNITWEAR
JULIEN MACDONALD
AUTUMN/WINTER 2010/11
RIGHT DRESS
QIU HAO
2008
SHIBORI MOTIF COAT
AKIRA ISOGAWA
2008/2009
SLEEPING BEAUTY
KINDER AGGUGINI
AUTUMN WINTER 2010/11
LEFT FLOWER BOMB GOWN
JOSH GOOT
2012
RIGHT DRESS
MICHAEL LO SORDO
2011
TOP ARTISANAL TRESSE
MAISON MARTIN MARGIELA
SPRING/SUMMER 2009/10
WOOL INSTILLATION
ANGELA WRIGHT
2011
LEFT COLLAGE COAT
JW ANDERSON
AUTUMN/WINTER 2011/12
MIDDLE SAVANNAH COAT
ERDEM MARCH
2011
RIGHT PRINCE CHARMING WOOL COAT
VIVIENNE WESTWOOD
AUTUMN/WINTER 2010/11
LEFT CATSUIT IN JACQUARD DE PAINE GRAPHIQUE
THIERRY MUGLER
AUTUMN/WINTER 1993/94
MIDDLE & RIGHT THE EGG TWIN
GILES DEACON
AUTUMN/WINTER 2009/10
ERNIE BETHANY
JEAN FANCHER
2003
LIGHT WOOL LIGHT
JESSICA NEBEL
2007
KNIT MONSTER
SIBLING
AUTUMN/WINTER 2010
MIDDLE RIGHT MEN'S READY-TO-WEAR
JOHN GALLIANO
AUTUMN/WINTER 2007/08
MIDDLE LEFT SCOUTING 1
SANSOVING 06
AUTUMN/WINTER 2011/12
RIGHT WAITER IN WOOL
THOM BROWNE
AUTUMN/WINTER 2011/12
HAND KNITTED DRESS
CRAIG LAWRENCE
AUTUMN/WINTER 2011/12
WOMEN'S READY-TO-WEAR
LANVIN
AUTUMN/ WINTER 2010/11
GOLD EMBELLISHED ASYMMETRIC BUSTIER DRESS
ALEXANDER McQUEEN
PRE-AUTUMN/WINTER 2011
WOOLAMINA
CHARLOTTE OLYMPIA
2009
TOP LEFT STOOL JUMPER
ESTABLISHED & SON
2010
ONE CUT STOOLS
BRITTA TELEMAN
2009
DAHLIA
KAI LINKE
2004
STITCH STOOLS
CLAIR-ANNE O'BRIEN
2011
NO HEATER WINTER CHAIR
SARAH KING
APRIL 2012
EMMA ELIZABETH HAS LOST HER MARBLES
EMMA ELIZABETH
2012
LEFT TAINTED LOVE DRESS WITH VAUDEVILLE BOMBER JACKET
ELLERY
2012
RIGHT WOOL TAILORED JACKET WITH LONG PLEATED DRESS
J.JS LEE
2011
LEFT WOMAN'S READY-TO-WEAR
JOHN GALLIANO
AUTUMN/WINTER 2010/11
MIDDLE LIMO COLLECTION
RICK OWENS
AUTUMN/WINTER 2011/12
RIGHT WOMEN'S READY-TO-WEAR
SONIA RYKIEL
AUTUMN/WINTER 2005/2006
LANOLAMP
HENRY WILSON
2012
SOUVENIR PIEUX OU LE PIETEMENT DE LA CROIX
CHRISTIAN LACROIX
2000
RIGHT ABRACADABRA
ERICKSON BEAMON
AUGUST 2011
WOOLLY BULLY
TOM BINNS
2011
BACK DISPLAY DYED IN THE WOOL
NOT TOM
2011
PRETEND
PENNY CHAN
APRIL 2012
TULLE AND TWEED COMBIE COAT
SIMONE ROCHA
2011
LEFT MATISSE 'SNAIL'
JENNY KEE
1976
MIDDLE LEFT ONE SHOULDERED CROCHET DRESS
ROMANCE WAS BORN
SPRING/SUMMER 2009/10
MIDDLE RIGHT DRESS
TINA KALIVAS
2012
RIGHT KALEIDASCOPE POM POM MACHINE
GORMAN
2012
ROUTA
LAURENT HONGISTO
2008
MEGA CORE RUG
NICK RADFORD RUGS
2011
RIGHT DRESS
SHAI JIA
2008
INVERTED CAPE
E. TAUTZ
2011
LEFT WOLF IN SHEEP'S CLOTHING
MARK FAST
AUTUMN/WINTER 2011/12
MIDDLE OFF THE SHOULDER BLACK WOOL DRESS
DAVID KOMA
AUTUMN/WINTER 2009/12
RIGHT DRESS
WILLOW
APRIL 2012
RIGHT WARRIOR DRESS
COLLETTE DINNIGAN
AUTUMN/WINTER 2012/13
MIDDLE SIGNITURE WOOL TUNIC
COURREGES
1973
LEFT STRUCTURE SKIRT
EMILIO DE LA MORENA
AUTUMN/WINTER 2011/12
LEFT WOLF IN SHEEP'S CLOTHING
MARK FAST
AUTUMN/WINTER 2011/12
THE PENGUIN
ALICE PALMER
JANUARY 2010
NECKLACESWING - WOHNSCHMUCK
JOHANNA RICHTER
2010
SUIT
PAUL SMITH
AUTUMN/WINTER 2011/12
Day 2
M A T I C E V S K I
Unfortunately I didn't get any photos of the Maticevski show, however from what I remember it was really very beautiful. I haven't witnessed on the catwalk a collection that was as precise and consistent as that of Maticevski, everything was very clean and well presented right down to the last seam and pressed dress. From a retail perspective Maticevski has covered all bases and made a collection that I think will sell very well. The only bone I had to pick was the choice of exposed zips I don't know what is going on there, teaming a satin finished exposed zip with a matt fabric WHAAA?? I suppose it may have something to do with my personal bias toward the open zip that sways me to negativity.
F L O W E R S F O R A V A G A B O N D
I managed to Video this whole show, unfortunately it was all from the back but you still get to see how these guys presented. To be honest I think the clothes were just as boring as the presentation, just like many of the shows it was my personal opinion that there was a lot of poor music choices, they were ether poor taste of outdated, FLOWERS FOR A VAGABOND was another show that I think fell into this category, unfortunately I think I videoed it with sound off, SORRY
J A S O N B R U N S D O N
So pretty, this was my second experience of viewing in the box and I thoroughly enjoyed it, Jason just like Jenny Kee really utilised the this arena. Jayson created a really seductive environment that you were absorber into. The only thing I didn't like was the selection in music, don't get me wrong I have no bias toward Lana Del Ray but come on is that the best you can do? The sexiness and seductive display of models was not mimicked with the choice in music.
These are a collection of images I took
Jason Brunsdon = beautiful MOMENTS
Day 3
M C A
(Museum of Contemporary Art)
THE VIEW FROM THE MCA CAFE
Lindy Lee's works 'CONFLAGRATION FROM THE END OF TIME . . .' in 'Marking Time' was an image of immense complexity, the seemingly simplistic presentation could suggest otherwise. She created the pieces by burning the wholes in the surface then placing the pieces outside amongst the natural elements for a period of time. There were forces completely out of her control that impacted upon her art. It's interesting to see the differences in the 4 pieces, where it is obvious where more of Lee's hand was used and which ones were impacted more upon by the universe around her. I find this a very trusting way to approach art, most of the time I feel when I approach a creative endeavour I have a specific image in mind of how I want my work to look at the end of the process. To allow a force other that your own to intervene with your creative process is something that could quite easily be adapted to a fashion practice.
The concept of loose collaborations is what interests me in relation to an art and design practice and which so often of late has been occurring within the fashion industry.
When Viewing Lindy Lee's work I saw how in a way it relates to my own practise. Ultimately my uncontrolled component is the female form, and even though a certain amount of control can be places upon this form of transient moments are enviable.
Through the development of my prototypes I never aim to finish the garment, it is my belief that none of my garments are ever complete until the form takes on and carries the garment and they work with one another to be complete
"one can never be complete without the other"
Is a common thread that I use to describe an element of my practice.
These images I have taken are of practitioners that have presented their work in a way I find interesting and inspiring in relation to a fashion perspective and how I can apply their methods of communication to my own practice.
Images taken at the M C A 'Marking Time'
TATSUO MIYAJIMA
DEATH CLOCK
2011-12
SANGEETA SANDRASEGAR
ITS FEET WERE TIED, WITH A SILKEN THREAD OF MY OWN HANDS WEAVING
2010
ROBERT OWEN
SUNRISE #3
2005
NICHOLAS FOLLAND
THE DOOR WAS OPEN...
2006
This chandelier was AMAZING, at first sight I didn't quite understand what it was that surrounded the centre What was this white hard substance? Having M C A staff standing right near me hampered upon my attempts to touch this white ball to uncover what it was made of. In the end I asked the M C A staff. There was a copper pipe running from the ceiling and had cold water running through it which caused this ball to freeze, it was frozen water that inhabited the centre of this lighting fixture.
ESME TIMBERY (WITH DAUGHTER MARILYN RUSSELL)
SHELLWORKED SLIPPERS
2008
ASHER BILU
INSIGHT INTO THE ULTIMATE
1988
NICK MANGAN
EXOECOAXIS
2005
FIONA HALL
GIVE A DOG A BONE
1996
IAN BURN
PHOTOGRAPHIC MIRROR (REFERENTIAL LINE: ROBERT MORRIS)
1967-68
'VALUE-ADDED' LANDSCAPE NO 14
1993
MARIA KOZIC
MANSTER (WOLF MAN)
1986
MANSTER (THE PICTURE OF DORIAN GREY)
1986
THE VIEW FROM THE MCA CAFE
LINDY LEE
CONFLAGRATIONS FROM THE END OF TIME (FLOERS FALL)
2011
CONFLAGRATIONS FROM THE END OF TIME (AND YET)
2011
CONFLAGRATIONS FROM THE END OF TIME (MATTER AS MOTION'S FORM)
2011
CONFLAGRATIONS FROM THE END OF TIME (IN A SINGLE DROP OF WATER )
2011
LINDY LEE
CONFLAGRATIONS FROM THE END OF TIME (FLOERS FALL)
2011
Lindy Lee's works 'CONFLAGRATION FROM THE END OF TIME . . .' in 'Marking Time' was an image of immense complexity, the seemingly simplistic presentation could suggest otherwise. She created the pieces by burning the wholes in the surface then placing the pieces outside amongst the natural elements for a period of time. There were forces completely out of her control that impacted upon her art. It's interesting to see the differences in the 4 pieces, where it is obvious where more of Lee's hand was used and which ones were impacted more upon by the universe around her. I find this a very trusting way to approach art, most of the time I feel when I approach a creative endeavour I have a specific image in mind of how I want my work to look at the end of the process. To allow a force other that your own to intervene with your creative process is something that could quite easily be adapted to a fashion practice.
The concept of loose collaborations is what interests me in relation to an art and design practice and which so often of late has been occurring within the fashion industry.
When Viewing Lindy Lee's work I saw how in a way it relates to my own practise. Ultimately my uncontrolled component is the female form, and even though a certain amount of control can be places upon this form of transient moments are enviable.
Through the development of my prototypes I never aim to finish the garment, it is my belief that none of my garments are ever complete until the form takes on and carries the garment and they work with one another to be complete
"one can never be complete without the other"
Is a common thread that I use to describe an element of my practice.
These images I have taken are of practitioners that have presented their work in a way I find interesting and inspiring in relation to a fashion perspective and how I can apply their methods of communication to my own practice.
Images taken at the M C A 'Marking Time'
TATSUO MIYAJIMA
DEATH CLOCK
2011-12
SANGEETA SANDRASEGAR
ITS FEET WERE TIED, WITH A SILKEN THREAD OF MY OWN HANDS WEAVING
2010
ROBERT OWEN
SUNRISE #3
2005
NICHOLAS FOLLAND
THE DOOR WAS OPEN...
2006
This chandelier was AMAZING, at first sight I didn't quite understand what it was that surrounded the centre What was this white hard substance? Having M C A staff standing right near me hampered upon my attempts to touch this white ball to uncover what it was made of. In the end I asked the M C A staff. There was a copper pipe running from the ceiling and had cold water running through it which caused this ball to freeze, it was frozen water that inhabited the centre of this lighting fixture.
ESME TIMBERY (WITH DAUGHTER MARILYN RUSSELL)
SHELLWORKED SLIPPERS
2008
ASHER BILU
INSIGHT INTO THE ULTIMATE
1988
NICK MANGAN
EXOECOAXIS
2005
FIONA HALL
GIVE A DOG A BONE
1996
IAN BURN
PHOTOGRAPHIC MIRROR (REFERENTIAL LINE: ROBERT MORRIS)
1967-68
'VALUE-ADDED' LANDSCAPE NO 14
1993
SIMRYN GILL
A LONG TIME BETWEEN DRINKS
2009
MARIA KOZIC
MANSTER (WOLF MAN)
1986
MANSTER (THE PICTURE OF DORIAN GREY)
1986
Nike Savvas
showtime
1999
M E N S S H O W
Injury
Kalb & Etiw
Mils
Zsadar
Nathan Paul Swimwear
Sadly I didn't get to capture all of these shows on catwalk, it was probably for the best. I have no idea what is going on here! I'm not a fan of men's wear and I guess I can't really appreciate it ether so this has contributed to my negativity toward this show.
Excuse my crassness but the whole show was a wank, a complete disillusioned take on the new aged man, if the new aged man was a woman than maybe but ready-to-wear mainstream men's wear needs to be balanced with soft masculinity.
Mercedes-Benz fashion week said . . .
Mils
Kalb & Etiw
Injury
From Britten P/L
Combining conceptual ideas with classic principles, endeavouring to create a style that is characterised by simplicity, proportion, detail and importantly with restraint.
I congratulate the designers for presenting on this level, but sometimes I feel as if there is an element of everything being done, re-done and done again with out any consideration as to how they can redevelop these concepts.
It was mentioned quite a few times in some of the Mercedes-Benz write ups how the designers are not originally from a fashion back ground or are self taught, what is with that? All for them teaching themselves but as the great Alexander McQueen one said "you must learn the rules to be able to break them" how can you totally understand fashion if you don't understand the root of it all, how are you qualified to call yourself a designer if you don't grasp every aspect of it.
There was a lack of freshness, and a fear of really standing out.
There was less seriousness with the swimwear with the models doing comical poses for the cameras, but that doesn't distract from the lack of design, you can dress a donkey up but a donkeys still always going to be a donkey.
Day 4
N E W G E N E R A T I O N
I really can't bring myself to say anything, I was underwhelmed
J E N N Y K E E
On Thursday morning my last day I was lucky enough to grad a ticket to see Jenny Kee.
Kee collaborated with Romance was born, who styled her show which included nearly 30 years of archived prints.
The show was in the box which allowed Jenny's to present her collection as more of an exhibition, the models were like statues and the garments such as scarfs tights, leggings and knits were draped round their bodies. You walked into the room an were immersed in a see of colour all your senses were tingling, the smell of gumtrees and eucalyptus filled the room and you couldn't help but feel happiness radiating out of you.
Everything was so well considered, the styling was impeccable, the head pieces, accessories and make up were so beautiful, lavish but didn't over power the clothing, even the nails were coloured in the most magnificent shades, I tried to take some pictures of the nails. Because I was only in the general admission I just didn't get enough time to really appreciate the garments, so I took as many photos as I could so that I could flick through them later.
Jenny Kees show was an escape from the almost claustrophobic shows of the past 3 days, she presented you with a visually exciting display that was more ART than fashion, considering it's her first solo fashion week show since 1981 Jenny did not disappoint.
SO REFRESHING
By far my FAVOURITE show, you AMAZING Jenny Kee
My invite !
These are the images I managed to grab of the show
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