Saturday, June 2, 2012

NAKED BRUNCH

So as I casually walked into work the other day Nat asked me how I was feeling and what I'd been up too "WELL" i exclaimed "I just handed in my thesis proposal, thank GOD!". Of course this led onto me explaining what I was basing my thesis research on and out of the blue Nat tells me I should interview her. Little did I know I was working with the awesome performing artist Natalie Bak who was the creator of the "Nude Brunch" held at Bebida cafe during the 2009 Melbourne Fringe Festival. Now of course 2009 was my first year of uni and I had just moved to the city and had NO idea about anything and I'm not even over exaggerating this statement, this was when I was living in St Kilda which I took to be the coolest place in Melbourne, little did I know oh how little I knew. Well I've grown up quite a bit now and given the opportunity I would have loved to be part of this experience. Back to Nat.
I cant wait to interview her about the public response to her "Nude Brunch" concept which I think is an amazing social experiment that also offered something for the individual an opportunity to explore ones self. 

"It's all about celebrating collaboration and the human form but mostly it's about artists who are so willing to expose themselves - a literal tribute to that." Natalie Bak.

Basically the "Nude Brunch" was an event where you go and view performers whilst eating some delish food the only catch is, is that you as the audience are asked to leave you clothes at the door and most of the performers are naked or near naked.



Ive been reading a few articled from both Melbourne and Edinburgh about what Nat was doing, I say Edinburgh because she also took it to the Edinburgh film festival. It has seemed to be all very positive publicity but I feel a lot of people and article writers have been misleading in how they have written about the experience. An over sexualisation of ideas have been expressed especially in news article heading as if to just exploit the nude nature of the event as a way to get people to read the article by simply slipping "Sexy Experience" in or just "sexy" Into the headline and it is through this I found people leaving negative comments due to they misinterpretation and lack of appreciation due to their blatant ignorance, like these absolute DICKHEADS!! 

  • Pixie of Kingscliff NSW Posted at 9:34 AM October 07, 2009 
    See what I mean....you cant even have lunch without sex being involved....again, suffocating.....
  • Stephen Posted at 11:04 AM October 07, 2009
    We need to realise that we, as human beings, are not animals. We have souls and must all appear before the judgement seat of Christ to give an account of our deeds done in the body. These "artists" are not content with enjoying sin themselves but seem bent on further corrupting our society. Bestial, inhuman behaviour is sinful (Romans 13:13) and unless we repent of our sins we will perish eternally.

    evanrm Posted at 1:34 PM October 07, 2009
    Not everyone has a loose sense of modesty and dignity, even artists, it seems.
  • Matt R of Melbourne Posted at 1:40 PM October 07, 2009
    overeducated underachievers Another Bach of Art living of government grants (and trying to spend as LITTLE cash as possible, so they can pocket the rest)
  • HOW ABOUT YOU WATCH THIS AND SEE HOW YOU ARE ON A SLOW DECLINE



Heres a good one though your awesome Mark

Mark Vanselow of Melbourne Posted at 1:43 AM October 07, 2009
Congratulations, Natalie! You did an amazing job in organising this event and making it a memorable day! Kudos to all the artists involved and everyone who attended the event, as well as Bebida Cafe for hosting the function. Melbourne and other cities definitely need more gigs like this one. Hey, I hope you do this again next year! More people should get on board, shed their clothes for a couple of hours and really enjoy themselves; Natalie is a wonderful hostess and she really made certain every single person had a wonderful experience. I hope this goes to show that you don't need formal training in event management and marketing to put on a fun and vibrant do. You just need a novel idea, a little help from talented like-minded individuals, hard work and the courage to push the envelope. Natalie has a fabulous idea, and this is only the beginning. I hope the Melbourne Fringe Festival does something like this on a much bigger scale in 2010. Again, well done, Natalie! 

Comments were thanks to the article writen b

 
  • AAP 
  •  
  • October 07, 2009. For The Daily Telegraph

  • http://www.dailytelegraph.com.au/news/weird/nude-brunch-on-the-fringe/comments-e6frev20-1225783515250






    !! UPDATES COMING SOON !!
















    The Emperor’s New Clothes


    This is a little story I heard for the first time the other day, my friend thought it would help me with my thesis. The story really is quite sweet.

    Many years ago, there was an Emperor, who was so excessively fond of new clothes, that he spent all his money in dress. 
    He did not trouble himself in the least about his soldiers; nor did he care to go either to the theatre or the chase, except for the opportunities then afforded him for displaying his new clothes. 
    He had a different suit for each hour of the day; and as of any
    other king or emperor, one is accustomed to say, "he is sitting in council," it was always said of him,"The Emperor is sitting in his wardrobe."
    Time passed merrily in the large town which was his capital; strangers arrived every day at the court. 
    One day, two rogues, calling themselves weavers, made their appearance. 
    They gave out that they knew how to weave stuffs of the most beautiful colors and elaborate patterns, the clothes manufactured from which should have the wonderful property of remaining invisible to everyone who was unfit for the office he held, or who was extraordinarily simple in character.
    "These must, indeed, be splendid clothes!" thought the Emperor. "Had I such a suit, I might at once find out what men in my realms are unfit for their office, and also be able to distinguish the wise from the foolish! This stuff must be woven for me immediately." And he caused large sums of money to be given to both the weavers in order that they might begin their work directly.
    So the two pretended weavers set up two looms, and affected to work very busily, though in reality they did nothing at all. They asked for the most delicate silk and the purest gold thread; put both into their own knapsacks; and then continued their pretended work at the empty looms until late at night.

    "I should like to know how the weavers are getting on with my cloth," said the Emperor to himself, after some little time had elapsed; he was, however, rather embarrassed, when he remembered that a simpleton, or one unfit for his office, would be unable to see the manufacture. To be sure, he thought he had nothing to risk in his own person; but yet, he would prefer sending somebody else, to bring him intelligence about the weavers, and their work, before he troubled himself in the affair. All the people throughout the city had heard of the wonderful property the cloth was to possess; and all were anxious to learn how wise, or how ignorant, their neighbors might prove to be.
    "I will send my faithful old minister to the weavers," said the Emperor at last, after some deliberation, "he will be best able to see how the cloth looks; for he is a man of sense, and no one can be more suitable for his office than be is."
    So the faithful old minister went into the hall, where the knaves were working with all their might, at their empty looms. "What can be the meaning of this?" thought the old man, opening his eyes very wide. "I cannot discover the least bit of thread on the looms." However, he did not express his thoughts aloud.
    The impostors requested him very courteously to be so good as to come nearer their looms; and then asked him whether the design pleased him, and whether the colors were not very beautiful; at the same time pointing to the empty frames. The poor old minister looked and looked, he could not discover anything on the looms, for a very good reason, viz: there was nothing there.

    "What!" thought he again. "Is it possible that I am a simpleton? I have never thought so myself; and no one must know it now if I am so. Can it be, that I am unfit for my office? No, that must not be said either. I will never confess that I could not see the stuff."
    "Well, Sir Minister!" said one of the knaves, still pretending to work. "You do not say whether the stuff pleases you."
    "Oh, it is excellent!" replied the old minister, looking at the loom through his spectacles. "This pattern, and the colors, yes, I will tell the Emperor without delay, how very beautiful I think them."
    "We shall be much obliged to you," said the impostors, and then they named the different colors and described the pattern of the pretended stuff. The old minister listened attentively to their words, in order that he might repeat them to the Emperor; and then the knaves asked for more silk and gold, saying that it was necessary to complete what they had begun. However, they put all that was given them into their knapsacks; and continued to work with as much apparent diligence as before at their empty looms.
    The Emperor now sent another officer of his court to see how the men were getting on, and to ascertain whether the cloth would soon be ready. It was just the same with this gentleman as with the minister; he surveyed the looms on all sides, but could see nothing at all but the empty frames.
    "Does not the stuff appear as beautiful to you, as it did to my lord the minister?" asked the impostors of the Emperor's second ambassador; at the same time making the same gestures as before, and talking of the design and colors which were not there.
    "I certainly am not stupid!" thought the messenger. "It must be, that I am not fit for my good, profitable office! That is very odd; however, no one shall know anything about it." And accordingly he praised the stuff he could not see, and declared that he was delighted with both colors and patterns. "Indeed, please your Imperial Majesty," said he to his sovereign when he returned, "the cloth which the weavers are preparing is extraordinarily magnificent."
    The whole city was talking of the splendid cloth which the Emperor had ordered to be woven at his own expense. And now the Emperor himself wished to see the costly manufacture, while it was still in the loom. Accompanied by a select number of officers of the court, among whom were the two honest men who had already admired the cloth, he went to the crafty impostors, who, as soon as they were aware of the Emperor's approach, went on working more diligently than ever; although they still did not pass a single thread through the looms.
    "Is not the work absolutely magnificent?" said the two officers of the crown, already mentioned. If your Majesty will only be pleased to look at it! What a splendid design! What glorious colors!" and at the same time they pointed to the empty frames; for they imagined that everyone else could see this exquisite piece of workmanship.
    "How is this?" said the Emperor to himself. "I can see nothing! This is indeed a terrible affair! Am I a simpleton, or am I unfit to be an Emperor? That would be the worst thing that could happen--Oh!
    the cloth is charming," said he, aloud. "It has my complete approbation." And he smiled most graciously, and looked closely at the empty looms; for on no account would he say that he could not see what two of the officers of his court had praised so much. All his retinue now strained their eyes, hoping to discover something on the looms, but they could see no more than the others; nevertheless, they all exclaimed, "Oh, how beautiful!" and advised his majesty to have some new clothes made from this splendid material, for the approaching procession. "Magnificent! Charming! Excellent!" resounded on all sides; and everyone was uncommonly gay. The Emperor shared in the general satisfaction; and presented the impostors with the riband of an order of knighthood, to be worn in their button-holes, and the title of "Gentlemen Weavers."
    The rogues sat up the whole of the night before the day on which the procession was to take place, and had sixteen lights burning, so that everyone might see how anxious they were to finish the Emperor's new suit. They pretended to roll the cloth off the looms; cut the air with their scissors; and sewed with needles without any thread in them. "See!" cried they, at last. "The Emperor's new clothes are ready!" And now the Emperor, with all the grandees of his court, came to the weavers; and the rogues raised their arms, as if in the act of holding something up, saying, "Here are your Majesty's trousers! Here is the scarf! Here is the mantle! The whole suit is as light as a cobweb; one might fancy one has nothing at all on, when dressed in it; that, however, is the great virtue of this delicate cloth."
    "Yes indeed!" said all the courtiers, although not one of them could see anything of this exquisite manufacture.
    "If your Imperial Majesty will be graciously pleased to take off your clothes, we will fit on the new suit, in front of the looking glass."
    The Emperor was accordingly undressed, and the rogues pretended to array him in his new suit; the Emperor turning round, from side to side, before the looking glass.
    "How splendid his Majesty looks in his new clothes, and how well they fit!", everyone cried out. "What a design! What colors! These are indeed royal robes!"
    "The canopy which is to be borne over your Majesty, in the procession, is waiting," announced the chief master of the ceremonies. "I am quite ready," answered the Emperor. "Do my new clothes fit well?" asked he, turning himself round again before the looking glass, in order that he might appear to be examining his handsome suit.
    The lords of the bedchamber, who were to carry his Majesty's train felt about on the ground, as if they were lifting up the ends of the mantle; and pretended to be carrying something; for they would by no means betray anything like simplicity, or unfitness for their office.
    So now the Emperor walked under his high canopy in the midst of the procession, through the streets of his capital; and all the people standing by, and those at the windows, cried out, "Oh! How beautiful are our Emperor's new clothes! What a magnificent train there is to the mantle; and how gracefully the scarf hangs!" in short, no one would allow that he could not see these much-admired clothes; because, in doing so, he would have declared himself either a simpleton or unfit for his office. Certainly, none of the Emperor's various suits, had ever made so great an impression, as these invisible ones.

    "But the Emperor has nothing at all on!" said a little child. "Listen to the voice of innocence!" exclaimed his father; and what the child had said was whispered
    from one to another.

    "But he has nothing at all on!" at last cried out all the people. The Emperor was vexed, for he knew that the people were right; but he thought the procession must go on now! And the lords of the bedchamber took greater pains than ever, to appear holding up a train, although, in reality, there was no train to hold.


    There are several public domain editions of “The Emperor’s New Clothes.” This version comes from Project Gutenberg.



    Friday, June 1, 2012



    DANIELLE VIDONI©

    WHERE TO NOW with drape...

    DRAPE
    What is this word I feel like I keep tossing it around. I find myself trying to drape the fabric round the female form but I feel like I'm continuously getting stuck between trying to recreate the flesh that lays underneath the cloth and trying to work in a way that keeps with the traditional technique of Madam Gres drape. I need to develop my own method of drape, maybe I don't even drape the fabric, I think the visual representation of drape will come of its own accord, I need to just look at the skin and flesh and how it sits on the body and from there create a garment.


    Using Silk crepe I have tried to develop a method of gathering that can be used in place of tucks to create drape on the female form.

    These are some images that I used last year in one of my studios. It was probably this studio entitled "scrap" that I really started to become fascinated by the female form and began using it as my main source of inspiration. I first found images that resonated with me and from that I begun to deconstruct them trying to figure out what drew me to them. This is why these few images have been cut up, I conducted a few experiments to see if taking certain elements of the female form would create different relations with the remaining elements. I was drawn to certain parts of the body being... 

    Hips
    Waist
    Shoulders
    Clavicle
    Breasts

    It was these parts of the female form that I would further draw on and through my designing ensure that they would somehow be highlight. It was in this particular studio from last year that I developed a process of applying a series of slashes into fabric that would open up and reveal the female form beneath it. 
    My current body of work is based on the accentuation of these elements of the female form through the moulding of leather as well as applying the notion of revel and conceal to create garments that blur the line between body and garment. 

    JOCK STURGES

     
    RYAN McGINLEY

    DANIELLE VIDONI ©

    DANIELLE VIDONI ©

    It was through these two above images that the method of applying incisions into the fabric to reveal and conceal the female body was informed by. It was the lines in these drawings that allude to the lines that are placed on the body. I am however hoping to use these two drawings to inform my current project. I am struggling with draping or placement of fabric on the female form. The question is 

    HOW am I going to approach this
    &
    WHY is this method of application to the female form done in this way, how does it relate to the female form?
    I'm going to work less of trying to create drape and more on how to represent flesh as well as allow the body beneath to be revealed through the fabric so there is an equal play between body and garment. 

    DANIELLE VIDONI ©

    This one image from a collection of similar images I drew, the yellow represents the placement of cloth over the body

    DANIELLE VIDONI ©

    Drape over the body the lines move round the body in sync with its natural movements, highlighting and accentuating the main features of the female form. 

    DANIELLE VIDONI ©

    I really love these two images. 
    They are of a draped dress I developed then layered tracing paper over the top and drew in the female form to highlight the areas I wished to accentuate and draw upon. This particular dress I really enjoy, the lies which run parallel with the body and the drape is not too attention seeking, it is with the way the drape created through tucks hangs from the body that I find the silhouette so attractive and communicative of flesh. 
     There is two video I developed in some of my earlier entries where I wear the draped dresses and walk up and down the hallway which illustrate how the dresses moves with the body during movement to reveal and conceal the female form. It is during this movement that I think that this  nylon mesh is most effective. The simplicity of dress helps to allow the female form beneath to interact and be seen more, I want to avoid cluttering this form, both garment and wearer must exist together in harmony.




    These are the dresses I've made so far, not exactly what i had invisaged. Although they posses a feminine elegance they don't stand out, nor do they relate to the technique used in making the rest of my body of work.


    DRAPE DRESS #1 


    DRAPE DRESS # 1 (shoulder detail, tucking)

    These images show the pleating method I have used to create the drape, however I feel this method it too closely linked to that of Madam Gres and the development of my own method it needed, It's not that I don't like the effect visually I just feel there is little to link to the work I have been doing with leather and brush latex.

    DRAPE DRESS # 1 (bust detail)

    The tucks allow this beautiful flow of fabric to cares the breasts as it falls gently over the bust revealing and concealing whilst hanging from the shoulder point. It is through the interaction between wearer and garment that through movement the coverage over the bust will change allowing the garment to 'reveal' and 'conceal'

    DRAPE DRESS # 2

    DRAPE DRESS # 3 (same dress as 2, draped over front shoulder) 
























    ATTEMPTING THE JACKET

    THE JACKET

    FINALLY!! I have actually finalised the pattern for the jacket that is to be made from veggie tan leather then moulded to the female form. I can't even remember how many jackets I have made to get the pattern correct, all I know is that there has just been too many. 

    I'm so excited however to see how it turns out. Here are some Images of the jacket inside out, I've included some images of stuff ups so you can see where some of my mistakes have been like missing the seam when top stitching but that is just because I haven't allowed enough seam allowance. The jacket is actually so stiff that I can't turn it in the right way yet I have to wet the arms to then be able to pull them through without compromising the stitching, the last thing I want is for the stitching to begin to come apart.


    FRONT


    BACK

     SIDE SEAM

     GUSSET, UNDERARM 

     GUSSET, UNDERARM






    FINALLY I DID IT


    So it's happened I've been able to get the natural leather jacket made and to say the least I couldn't be happier. I love the smoothness of the seams and the flesh like quality the veggie tan possesses. The only problem that I faced is that after the jacket had been sewn it was incredibly stiff and the end seams near high stress areas like the underarm wear getting loose and the only way to turn the sleeves inside out was to wet the jacket first then attempt it, it WORKED. Here is a short film showing you part of the process. 


    Videoing became quite a problematic method of documenting so for the rest of the moulding of the jacket I've just taken some photos of areas of the jacket and some up closeness showing off the fleshy texture of the jacket. 



    And yes I do use good sacks to mould the leather, they are the best at creating a smooth and even wait that doesn't disturb the texture of the leather. and the boxes have come in handy for positioning the arms. 










    This a funny little video I made to complete the final stages of the jacket coming off the mould. The jacket isn't as perfect as I could have hoped for but its still pretty good, and the awesome thing is, is that all I have to do to change the shape is to wet the areas that need changing and re-mould.