Preen By Thornton Bregazzi
AW18/19
17/09/19
"Preen By Thornton Bregazzi was founded in 1996 by Justin Thornton and Thea Bregazzi, built on an aesthetic of darkly romantic and effortlessly modern, juxtaposing the masculine with feminine and mixing of hard and soft. Their debut collection at London Fashion Week for Spring Summer 2001 established the brand’s essence of punkish sensibilities with vintage elements and hand crafted details. The collection debuted to rave reviews with critics responding to the subverting of traditional motifs and British sense of tongue-in-cheek chic. The label has since become synonymous with deconstructed London cool and developed a cult status amongst fashion heavyweights.
Over two decades, Preen has evolved from a small boutique in London’s Notting Hill to a globally loved brand stocked across 5 continents and an industry insider favourite. Regularly featured in leading fashion publications and broadsheets, Preen has also collected a loyal fan-base of famous faces, with stars from Gwyneth Paltrow, Kate Bosworth, Beyonce, Rihanna, Cate Blanchett , Naomi Watts and Emma Stone to the Duchess of Cambridge and former First Lady Michelle Obama repeatedly stepping out in their designs.
2008 saw the launch of ‘Preen Line’ – the effortless rock ’n ‘roll contemporary line focusing on the easy wear elements of the Preen Woman’s every day wardrobe. A fashion week must see for 30 seasons, showing on the runways of both London and New York, Preen was winner of the ‘Established Designer’ award at the British Fashion Awards 2015. With 6 ready to wear collections a year, Preen By Thornton Bregazzi has expanded to include Preen Home – an opulent offering of soft furnishings, Preen Mini, the luxe children’s wear line as well as a seasonal offering of accessories and footwear.
JJ Hudson-DrNoki
http://www.therevivalcollective.com/dr-noki/
In an interview with jj Hudson known as Dr Noki he was asked about up cycling and why he wants to be apart of it.
"Why is upcycling so important to you and your brand?
Using second hand gives me a brand value that I haven’t torn into the fresh commodity. I get the modernity of the rip and tear but I choose to rip and tear from what’s already ripped and torn. There’s plenty within the rag pile and the landfill… there’s enough commodity there to be able to create my message .
Why do you think upcycling important for us as a generation?
To realise that we are being manipulated to rip and tear constantly without any knowledge of the harm it’s creating. We are now in a generation of design for design’s sake, so that alone increases the rip and tear. It rips the minerals out of the earth to create a product that is design for design’s sake which will forsake us all in the end. There needs to be a stop and reflection and for me that was realising that the ragpile gave me everything.
What do you think is the worst thing about the commercial fast-fashion industry?
Design for design’s sake… trying to give a consumer some reason to spend money on something that has already been made before. Commercial fast-fashion feeds addiction and it’s purely an endorphin rush. When you go shopping you get an endorphin rush from the hunter gatherer in you. You can’t really afford these things but you buy them anyway. But you don’t really even own them because you are in debt to the bank.
All these things are part of the hypocrisy that consumerism creates. Creating denial and hypocrisy and negativity within, self-harming… consumerism is a bit of a self-harm y’know. All the unworn clothes thrown into a pile in the corner of the room are like a dead energy, which is emulating hypocrisy, addiction and denial.
How is Noki trying to combat this?
Noki is all about trying to create something positive and something unique out of the hypocrisy, addiction and denial. Noki is trying to fly the flag for youth culture and brandalise their addiction so that they can communicate with each other and have a laugh rather than feeling guilty and hypocritical and as a result reclaim our humanity.
Fashion has the power to drive change. What do you think of this statement?
Well it’s definitely changed me because I’ve found a unique place within the concept of collaging, which is using the information highway of textiles. It’s generally done through paper. Critics say to me ‘You’ve done a textile transfer which is really different and a thought provoking thing to find within an art forum.’ So it’s given me the power to not use paper collage and just use a different kind of carbon. I’m an art brand. Within the fashion side I’m playing, parodying, mocking fast-fashion, even trying to bring it back to the best fashion which was couture, y’know the idea of sculpture.
However I do think fashion can sometimes be a bit constricting and I like the non-restriction that art gives. When you design something you are controlling somebody but I don’t want to control I want to liberate. My art is very uncomfortable, very provoking, it drives ideas and narratives that are subliminally hidden behind coutureism and the entertainment of the mind through global infiltration of information."
Marvin Desroc
He finds inspiration in everything, from his friends -- “They are out here being who they are, unapologetically” -- to the internet. “I’m a huge fan of memes and ratchet podcasts,” he says. “These two things actually give me some crazy ridiculous ideas from time to time. The more ridiculous it is, the more I love it, hence these stupid bows. I find it really interesting to mix these worlds that have nohing to do with each other and create a story that links all of it together in a way that reflects my upbringing, my desires, fears.” After all, ultimately this collection is a story about Marvin himself. “As shallow as it sounds, the starting point was obviously myself: my upbringing and how I felt growing up. I wanted to set myself free and mend my relationship with my old self I guess. I had to do it in order to move on as I was entering another chapter of my life.”
I went for this larger than life and ridiculous wig to not only mock masculinity, of course, but because people have just put wigs onto black men now as a trend, when in fact, hair is deep-rooted into our own notion of identity. I started tackling these subjects when I started studying fashion, almost five years ago, but now that it has propelled into the spotlight. I had to really think about what my contribution would mean.”
https://i-d.vice.com/en_uk/article/bj9evz/designer-marvin-desroc-central-saint-martins-graduate
Yohji Yamamoto
"I think that my men's clothes look as good on women as my women's clothing […] When I started designing, I wanted to make men's clothes for women."[7] More recently he has expounded: "When I started making clothes for my line Y’s in 1977, all I wanted was for women to wear men’s clothes. I jumped on the idea of designing coats for women. It meant something to me – the idea of a coat guarding and hiding a woman’s body. I wanted to protect the woman’s body from something – maybe from men’s eyes or a cold wind."
Text
18/09/19
I then started to look at some extra designers.
"Mandi Lam attained her BA Fashion & Textile Design, Knitwear Design with Technology Specialism, in Hong Kong in 2014. Her graduate collection 'e x p o s e' is based on her perspective on the ever-changing world. She altered the shape and texture of knitted fabric by applying coatings with prints and acrylic to express the story."
https://www.notjustalabel.com/mandi-lam
Nensi Dojaka
On Friday the 20th I went to London fashion week where I went to see Nensi Dojaka's show. /
"Albanian designer Nensi Dojaka is a recent graduate of MA Fashion at Central Saint Martins. Having been selected to show her collection as part of the MA Show during London Fashion Week, she received significant press and attention from industry leaders and buyers.
In her work, she plays around with the idea of representing all juxtaposing sides of being female, through layers and contrasting textures. The designs target women who can reconcile with the identity that they are trying to build towards; one that would make them feel bold, enabled and most importantly comfortable, not just in a physical sense. The designs focus closely on micro-details and keeping a raw side to the clothing."
Martin Margiela
"After graduation, Margiela based himself in Paris and worked as a freelance designer for five years. Between 1985 and 1987 he worked for Jean Paul Gaultier, before showing his first collection under his own label, which he started with his business partner Jenny Meirens in 1989.[1] Between 1997 and 2003 he was the creative director of the Hermès women's line. Martin Margiela was appointed as a Guest member of the Chambre Syndicale de la Haute Couture in 2010.
During the 1980s, the Japanese avantgardists, with Rei Kawakubo—creator of the label Comme des Garçons—had influenced the global fashion scene with their eccentric and ground-breaking designs. Martin Margiela and the Antwerp Six would carry on the work, revolting against the luxurious fashion world with garments of oversized proportions such as long arms, and with linings, seams and hems on the outside. The concept of deconstruction (also embraced by Kawakubo) is important for the understanding of Margiela's fashion statement. Margiela famously redesigns by hand objects such as old wigs, canvases and silk scarves into couture garments."
YT deconstruction videoion video
This video shows how to deconstruct and reconstruct a garment on the body.
Craig Green
"Craig Green’s accolades include British Menswear Designer at the Fashion Awards 2016, 2017 & 2018, Menswear Guest Designer at Pitti Uomo 94 in 2018, the BFC/GQ Designer Menswear Fund prize 2016 and Emerging Menswear Designer at the British Fashion Awards 2014.
London-born designer Craig Green established his namesake label in 2012 shortly after graduating the Fashion Masters course at Central Saint Martins. He has since carved out a unique position amongst the city’s most innovative talents and continues to earn both critical and commercial success globally.
Exploring concepts of uniform and utility, Green’s cult-like runway processions have become a highly anticipated fixture of the menswear calendar. Though known for their dramatic and deeply emotive qualities, his collections are firmly rooted in the steady development of simple, yet rigorously considered signature garments such as the Worker Jacket.
Green’s distinct offering of substance within spectacle has earned the label a loyal customer base within some of the world’s most prestigious boutiques and department stores. Green’s work also resonates within wider creative spheres. His designs have been featured in a range of major exhibits including the Metropolitan Museum of Art’s ‘China: Through the Looking Glass’ in 2015, and 2018’s ‘HEAVENLY BODIES: Fashion and the Catholic imagination.’ The brand has also been commissioned to create costumes for Wayne McGregor’s ‘Obsidian Tear’ at the Royal Opera House in 2016 and Ridley Scott’s ‘Alien: Covenant’ in 2017.
Goom Heo
"Also a winner of the L’Oreal Professional award, South Korean designer Goom Heo’s collection riffed on her interpretation of weirdness: “I wanted to explore my personal feeling towards what ‘crazy’ or ‘weird’ means to me, specifically defining and showing it through a menswear collection,” she explained. “I think of people who would wear my clothes and still to be treated or considered normal, not odd or funny. It’s about striking the balance between what people define as crazy and what is considered to be the normal.”
Stripping away social and cultural rules, and standards of dress, her looks combined masculine and feminine codes, where houndstooth embroideries rub up to tulle overlays, jet black codpieces toy with masculinity and athletics tops are sliced and spliced into patchwork garments. The collection boasted boxy, futuristic ankle boots in collaboration with London-based, South Korean shoe brand DOY."
BENTWOOD FRANK GEHRY CHAIR "CROSS CHECK"RANK GEHRY CHAIR "CROSS CHECK"
BENTWOOD FRANK GEHRY CHAIR "CROSS CHECK"
"Said to "defy categorisation", Gehry's work reflects a spirit of experimentation coupled with a respect for the demands of professional practice and has remained largely unaligned with broader stylistic tendencies or movements.[55] With his earliest educational influences rooted in modernism, Gehry's work has sought to escape modernist stylistic tropes while still remaining interested in some of its underlying transformative agendas. Continually working between given circumstances and unanticipated materializations, he has been assessed as someone who "made us produce buildings that are fun, sculpturally exciting, good experiences" although his approach may become "less relevant as pressure mounts to do more with less".[55]
Gehry is sometimes associated with what is known as the "Los Angeles School" or the "Santa Monica School" of architecture. The appropriateness of this designation and the existence of such a school, however, remains controversial due to the lack of a unifying philosophy or theory. This designation stems from the Los Angeles area's producing a group of the most influential postmodern architects, including such notable Gehry contemporaries as Eric Owen Moss and Pritzker Prize-winner Thom Mayne of Morphosis, as well as the famous schools of architecture at the Southern California Institute of Architecture (co‑founded by Mayne), UCLA, and USC where Gehry is a member of the board of directors.[citation needed]
Gehry's style at times seems unfinished or even crude, but his work is consistent with the California "funk" art movement in the 1960s and early 1970s, which featured the use of inexpensive found objects and non-traditional media such as clay to make serious art.[56] His works always have at least some element of deconstructivism. Gehry has been called "the apostle of chain-link fencing and corrugated metal siding". However, a retrospective exhibit at New York's Whitney Museum in 1988 revealed that he is also a sophisticated classical artist, who knows European art history and contemporary sculpture and painting."
Inspiration
17/09/19
I then was inspired by the tree branches and the trunk and how the wood naturally folded itself and it cracked/chopped leaving a really interesting texture that i have then tried to drape on my manequin.
Victorian 1800s inspiration
I was then inspired by the victorian undergarments. When I was draping I knew for sure that I wanted to make a pair of trousers but then I began to expand on the top part and the silhouette reminded me of the 1800s in how constrained it was on the waist and then flowy of the trousers.