Dressed [Exhibition]
Dressed
PhD group exhibition, Sumarria Lunn Gallery, London, 2012
PhD group exhibition, Gallery KG52, Stockholm, 2012
Participants
Rickard Lindqvist
A thought on Gravity and Balance
Picture series together with garment samples in black cotton. Clothing is made for the body. When cutting garments one is foremost dealing with the body itself and its relation to the shapes created. Block patterns often used within the fashion industry as a foundation for pattern cutting abstracts the shape of the body into atwo dimensional template taking focus away from the living body into technicalities of a flat shape. Dressed integrity, from a cutting perspective, is to work with, for and on the body without turning to abstractive technical systems. These series are the first in an ongoing research work with the attempt to explore, and further develop the theories and methods on cutting developed by French costume designer Genevieve Sevin-Doering. It highlights two foundational parameters for dressing the body, gravity and balance. Questioning conventional pattern cutting methods and working on and with the body the pattern instead of being a tool becomes the notation of shape and form.
Karin Landahl
Concrete Geometry
The fundamentals of knitting is openings, voids and angles; not the stitch. What defines a knitted garment? When it comes to knitwear I question the prevalent division between form and material – the myth of the silhouette. Can we dissolve the distinction between construction and matter in a concrete geometry of garment making? The research conducted is focused on knitting aiming to develop working methods and vocabulary for basic notions of form within the design process for knitwear; form as the way in which we knit. In this exhibition I show parts of two projects, both of them explore the integrity of form. «Identical» (showing parts of the project). Form is understood as the number of openings, and as the distinctness of a garment´s beginning and end. The form is the formula from which the garments are made. All garments start simultaneously around the openings, and end at the row with the contrast colour. Identical forms but diverse silhouettes. «Transformation» (showing parts of the project). Form is understood as the transformation from plain to curved that is held as a possibility within the knit itself. The angle, the opening, the merge of inside-outside; three aspects of transforming.
Stefanie Malmgren de Oliveira
Sketched parameters
The human body is the idée fixe in fashion design. Like a sculptor searching, through the superimposition of different forms, for the one that attracts, the one that intrigues, the one that inspires and the one that delineates the exploration of the final embodiment, the fashion designers language is that of interrelationships between forms. Through the manipulation of lines, shapes, volumes and textures on the body, parameters interact in search of interesting relationships and certain aesthetic values, expressions and a particular form language. Gradually this reveals itself through further investigation of different perspectives, which ultimately contribute to the composition of a distinctive vocabulary of a fashion silhouette. Integrity lies in the consistency of exploration between the parameters and the constant.
Ulrik Martin Larsen
Performed Garment
How can garments inform and direct movement, choreography and performance? How can movements inform and contribute to the development of garments? These questions are examined from different perspectives ranging from everyday interaction with garments to highly staged scenarios where costume, cloth and scenography are used to underline and convey a certain character and mood. «The Choreographed Garment» movie series explores in various ways garments and cloth as co – directors of movement, choreography and performance. The movements are performed as a consequence of the garments shape and the actions undertaken to wear the garment constitute choreography whilst maintaining integrity in movement that accentuates the narrative. The photographs in the «Ritual» series focus on the daily ritual of dressing/undressing. This mundane task is elevated to a performance where contortions in cohesion or against the cloth unconsciously bring new shapes representing the performance of a garment.