'i never set out to make haute couture..i was just determined to make the very best clothes. every time i got a bit more successful i just moved to better premises and my clothes got more in demand and attracted more attention.' - Beril Jents (p38)
'i'm part of an industry - part of a society - i don't aspire to lead or to have a particular impact. but what i'm really interested in is collaborating - to be able to work with other creators. so i'm not ambitious to lead the industry, but to work within. that is what i do. i'm very privileged to be able to work with other creators.' - Akira Isogawa (p121)
'it's so much more exciting to work with fabric you have designed. i guess there is some sort of spirituality about the process. it has a bit more haert. we will often include a little story about where the fabric comes from. it makes garments more special.' - Easton Pearson (p121)
arguably, the inspirations for their collections came from a multitude of sources. for example, in Paris in 1998, Sprynskyj and Boyd became fascinated with Greco-Roman mummies and the way perfumed petals, among other substances need for their next life, were placed within particular folds of the funerary cloth. another extraordinary finding was that the fabric had pockets already woven into the cloth. emulating this process, they pressed and created their own pleated fabrics, added layered papers and then used petals within each layer. by becoming highly extraordinary in their design process, they brainstormed different ways of approaching their process.
Boyd wrote: 'S!X has an ongoing interest in the contruction techniques of garments, hence the stripping back of jackets and trousers to reveal the structure and frame. we are constantly researching new techniques and we like to question the status quo, and quite often our garments spring from a recycled base or employ a quick print method via the photocopier. no doubt the trained textile designer would think this unorthodox.'
in the Tokyo Voguy exhibition catalogue, the work of Sprynskyj and Boyd: 'reflects a strong Japanese aesthetic, akin to the deconstructivist nature of Comme des Garçons...using abstract shapes to form a garment base, they experiment by manipulating the cloth and exploring new dyeing and printing techniques. their garments are often made from old garments and incorporate the use of paper, emphasising their interesting recyling.'
like the Japanese, Sprynskyj and Boyd's design processes are developmental - one thing leads to another, whether it is a technique, a fabric or an idea. they incessantly discuss and question their design procedures.
Boyd sayd that:
'in starting a collection you know you are not starting from zero...as soon as you finish it...you already know the problems with it...what hasn't been resolved and that's usually a starting point for the next one.' (p226)
the pre-Twentieth-Century history of the musem can be divided into two main stages. the first, in broad terms, spans the late Seventeenth and Eighteenth Centuries - the Age of Enlightenment, also known as the Age of Reason. the second occurred in the Nineteenth Century, when the production and dissemination of knowledge were the focus of the Modernist museum. this type of museum was intended to be encyclopedic, drawing together a complete collection to act as a universal archive.
the Nineteenth Century history of the museum is one of consolidation and extension of the emergent principles of classification, which were often used as a strategy to distance this type of public institution from the contemporary popular museums.
however, the most defining feature of the Nineteenth-Century public museum was that it provided access to public citizenry. this ideal Twenty-First-Century museum adopts a more democratic stance towards its visitors. this democratisation has allowed fashion into the art museum as opposed to just the ubiquitous textiles and dress displays synonymous with museums of earlier eras. (p129)
as argued, the aesthetic study of fashion and textiles poses questions about personal expression, individuality, exploration and experimentation and the notion that 'there is a perfect imperfection inherent in all handmade work'. the art of fashion suggests a cultural paradox, an interface between Western and Eastern practice. it implies the exotic, the atypical, the exceptional. it crosses boundaries in changing, mutating, refiguring and pooling new ideas. the fusion of original textile and fashion production forges a unique aesthetic. this chapter has reviewed the work of leading practitioners in the field and addressed the way each individual has contributed to the transformation of textile and fashion pieces into 'wearable art objects.' in Postmodernist terms, some work was politically or sexually charged, some was laced with humour, and some dismissed cultural boundaries and mainstream conventions. the calibre of the designers' distinctive work is undisputable and, in a commodity-driven world, their refreshing and uncompromisingly self-expressive work provides an inspirational legacy for emerging Australian designers. while all fashion is not art, when fashion does become art it evokes a powerful emotional response that resonates for generations. (p99)
it may seem presumptuous to suggest that today's designers are inadvertently preparing us for the future, challenging the very nature of current fashion practices. perhaps their work poses more questions rather than supplying answers, or promotes momentuous change rather than embracing the 'status quo'. arguably, avant-garde designers attempte to alter and materialise a new perception of the face of fashion in aesthetic, technical or cultural terms by offering new ideas of concepts, extending or advancing new technologies, or underlining new concerns for the environment and humankind in their work.
sustainable design, for example, demands a more responsible design methodology that might consider waste minimalism in terms of pattern-making, seamless construction, closed-loop textile surface design and reusable off-cuts. as we know, new developments in fashion design can encompass drawing, pattern-making, cutting, sewing, construction and decorative techniques, but they can also involve distribution, sales and marketing, and promotional campaigns. in other words, avant-garde practice is not mutually exclusive, but rather embraces a plethora of possiblities. (p219)
'i'm part of an industry - part of a society - i don't aspire to lead or to have a particular impact. but what i'm really interested in is collaborating - to be able to work with other creators. so i'm not ambitious to lead the industry, but to work within. that is what i do. i'm very privileged to be able to work with other creators.' - Akira Isogawa (p121)
'it's so much more exciting to work with fabric you have designed. i guess there is some sort of spirituality about the process. it has a bit more haert. we will often include a little story about where the fabric comes from. it makes garments more special.' - Easton Pearson (p121)
arguably, the inspirations for their collections came from a multitude of sources. for example, in Paris in 1998, Sprynskyj and Boyd became fascinated with Greco-Roman mummies and the way perfumed petals, among other substances need for their next life, were placed within particular folds of the funerary cloth. another extraordinary finding was that the fabric had pockets already woven into the cloth. emulating this process, they pressed and created their own pleated fabrics, added layered papers and then used petals within each layer. by becoming highly extraordinary in their design process, they brainstormed different ways of approaching their process.
Boyd wrote: 'S!X has an ongoing interest in the contruction techniques of garments, hence the stripping back of jackets and trousers to reveal the structure and frame. we are constantly researching new techniques and we like to question the status quo, and quite often our garments spring from a recycled base or employ a quick print method via the photocopier. no doubt the trained textile designer would think this unorthodox.'
in the Tokyo Voguy exhibition catalogue, the work of Sprynskyj and Boyd: 'reflects a strong Japanese aesthetic, akin to the deconstructivist nature of Comme des Garçons...using abstract shapes to form a garment base, they experiment by manipulating the cloth and exploring new dyeing and printing techniques. their garments are often made from old garments and incorporate the use of paper, emphasising their interesting recyling.'
like the Japanese, Sprynskyj and Boyd's design processes are developmental - one thing leads to another, whether it is a technique, a fabric or an idea. they incessantly discuss and question their design procedures.
Boyd sayd that:
'in starting a collection you know you are not starting from zero...as soon as you finish it...you already know the problems with it...what hasn't been resolved and that's usually a starting point for the next one.' (p226)
the pre-Twentieth-Century history of the musem can be divided into two main stages. the first, in broad terms, spans the late Seventeenth and Eighteenth Centuries - the Age of Enlightenment, also known as the Age of Reason. the second occurred in the Nineteenth Century, when the production and dissemination of knowledge were the focus of the Modernist museum. this type of museum was intended to be encyclopedic, drawing together a complete collection to act as a universal archive.
the Nineteenth Century history of the museum is one of consolidation and extension of the emergent principles of classification, which were often used as a strategy to distance this type of public institution from the contemporary popular museums.
however, the most defining feature of the Nineteenth-Century public museum was that it provided access to public citizenry. this ideal Twenty-First-Century museum adopts a more democratic stance towards its visitors. this democratisation has allowed fashion into the art museum as opposed to just the ubiquitous textiles and dress displays synonymous with museums of earlier eras. (p129)
as argued, the aesthetic study of fashion and textiles poses questions about personal expression, individuality, exploration and experimentation and the notion that 'there is a perfect imperfection inherent in all handmade work'. the art of fashion suggests a cultural paradox, an interface between Western and Eastern practice. it implies the exotic, the atypical, the exceptional. it crosses boundaries in changing, mutating, refiguring and pooling new ideas. the fusion of original textile and fashion production forges a unique aesthetic. this chapter has reviewed the work of leading practitioners in the field and addressed the way each individual has contributed to the transformation of textile and fashion pieces into 'wearable art objects.' in Postmodernist terms, some work was politically or sexually charged, some was laced with humour, and some dismissed cultural boundaries and mainstream conventions. the calibre of the designers' distinctive work is undisputable and, in a commodity-driven world, their refreshing and uncompromisingly self-expressive work provides an inspirational legacy for emerging Australian designers. while all fashion is not art, when fashion does become art it evokes a powerful emotional response that resonates for generations. (p99)
it may seem presumptuous to suggest that today's designers are inadvertently preparing us for the future, challenging the very nature of current fashion practices. perhaps their work poses more questions rather than supplying answers, or promotes momentuous change rather than embracing the 'status quo'. arguably, avant-garde designers attempte to alter and materialise a new perception of the face of fashion in aesthetic, technical or cultural terms by offering new ideas of concepts, extending or advancing new technologies, or underlining new concerns for the environment and humankind in their work.
sustainable design, for example, demands a more responsible design methodology that might consider waste minimalism in terms of pattern-making, seamless construction, closed-loop textile surface design and reusable off-cuts. as we know, new developments in fashion design can encompass drawing, pattern-making, cutting, sewing, construction and decorative techniques, but they can also involve distribution, sales and marketing, and promotional campaigns. in other words, avant-garde practice is not mutually exclusive, but rather embraces a plethora of possiblities. (p219)
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