Tuesday, 30 November 2010

Module three chapter 12

Three artists

Zandra (Lindsey) Rhodes, ,
(born 19 September 1940in Chatham , Kent, is an English fashion designer. Zandra Rhodes was introduced to the world of fashion by her mother. Rhodes studied first at Medway and then at the Royal College of Art in London. Her major area of study was printed textile design. In 1969, Rhodes established her own retail outlet in the fashionable Fulham Road in West London. Rhodes' own lifestyle has proved to be as dramatic, glamorous and extrovert as her designs. With her bright green hair later changed to a pink and sometimes red or other colours, theatrical makeup and art jewellery, she stamped her identity on the international world of fashion.
Rhodes was one of the new wave of British designers who put London at the forefront of the international fashion scene in the 1970s. Her designs are considered clear, creative statements, dramatic but graceful, bold but feminine. Rhodes' inspiration has been from organic material and nature. Her approach to the construction of garments can be seen in her use of reversed exposed seams and in her use of jewelled safety pins and tears during the punk era.
Rhodes designed for Diana, Princess of Wales, and continues to design for royalty and celebrities. She notably designed several of famous costumes for Freddie Mercury of Queen. Over the years, she has had many academic and professional honours bestowed upon her and were made a Commander of the British Empire by the Queen in 1997.
The San Diego Opera commissioned her to design the costumes for her first opera, The Magic Flute, in 2001. Rhodes continued her association with the San Diego Opera in 2004 when she designed the set and costumes for Bizet's Les pêcheurs de perles. She designed for Verdi's Aida at the Houston Grand Opera and English National Opera. Rhodes is the founder of the Fashion and Textile Museum in London which was opened in May 2003. In November 2009, Zandra Rhodes was appointed Chancellor of the University for the Creative Arts, one of the UK's newest universities, and only the second to focus specifically on art and design.

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A cloth from autumn/winter collection of this year. I like the transparency of this cloth. It
remembered me on the clothes which I sewed .for me at the end of the sixties

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                                                    This is like a complex cloth quilt

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Zandra Rhodes final drawings for characters in the opera The Magic Flute: Queen of the Night, Slave,Monostatos
References: http://www.zandrarhodes.com/collections/

Deidre Hawken
Deirdre Hawken is a designer / maker specialising in headpieces. She trained in theatre design
at Central / St Martins. She designs and makes couture headpieces using traditional millinery
techniques, which are sold in the UK and abroad. She has exhibited her work widely within the UK and internationally, including the Victoria and Albert Museum London, Crafts Council London, The Royal Festival Hall London, The Kelvingrove Museum Glasgow and at Julie Artisans' Gallery in New York. Her work is in various public collections including the Victoria and Albert Museum London, the Philadelphia Museum of Art USA, and the Hat Museum UK. She is on the photostore of selected makers at the Crafts Council.
Deirdre is also a fellow of the Society of Designer Craftsmen and a fellow of the Royal Society of Arts
Deirdre has created hats inspired by the recipes of the chef Anton Mosimann, they were shown at a lunch at his restaurant in Belgravia on the 21st April 2010
Deirdre has a hat featured in the exhibition 'Hats, an Anthology by Stephen Jones'. It will start touring the world for the next six years, starting in Australia from March 2010 Deirdre has been awarded an artist's gallery space at the Knitting and Stitching Show 2010 Alexandra Palace, London 7th until 12th October 2010

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                             a hat which remembered me on the theme of module III


Paul Poiret (20 April 1879, Paris, France - 30 April 1944, Paris)
was a French fashion designer. His contributions to twentieth-century fashion have been likened to Picasso's
contributions to twentieth-century art.
 His parents, in an effort to rid him of his natural pride, apprenticed him to an umbrella maker. There, he collected scraps of silk left over from the cutting of umbrella patterns, and fashioned clothes for a doll that one of his sisters had given him. While a teenager, Poiret took his sketches to Madeleine Cheruit, a prominent dressmaker, who purchased a dozen from him. Poiret continued to sell his drawings,
eventually to major Parisian couture houses, until he was hired by Jacques Doucet in 1896.His
first design, a red cloth cape, sold 400 copies. Poiret established his own house in 1903, Poiret's house expanded to encompass furniture, decor, and fragrance in addition to clothing. In 1911, he established the company Parfums de Rosine, named for his eldest daughter. Poiret's name was never linked to the company, but it was effectively the first fragrance launched by a designer.
Poiret's major contribution to fashion was his development of an approach to dressmaking centered on draping, a radical departure from the tailoring and pattern-making of the past. Poiret was influenced by antique and regional dress, and favored clothing cut along straight lines and constructed of rectangles.] The structural simplicity of his clothing represented a "pivotal moment in the emergence of modernism" generally, and "effectively established the paradigm of modern fashion, irrevocably changing the direction of costume history. Poiret's break with the past was so great that he might better be called fashion's revolutionary, the man who brought modernity into being. Dispensing with social mores and tradition, he changed not just how women dress, but how they move and live.
Paul Poiret is best known for jettisoning the corset, thereby liberating women from the figuredistorting silhouettes that had existed in one form or another since the Renaissance style. In both Europe and the United States, Belle Epoque style was notable for the pinched, swanlike curves produced by its corset . Poiret, who rejected the corset around 1905, was not the only designer to do so; social reformers had begun calling for the end of the corset by the late 19th century, and other designers, including the influential Madeleine Vionnet, had also begun experimenting with natural silhouettes. But Poiret gets credit for popularizing the new look largely because of Denise, Poiret's wife and muse who was his best advertisement. Her slim body suggested a new sort of woman, unburdened and ready to move.

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                       Denise Poiret, 1913. Photograph by Geisler & Baumann,

Poiret found considerable inspiration for these modern looks in the fashions of the East and the draping of classic Greek statuary—particularly in the loose simplicity of kimonos, chitons, and caftans, all garments that are made by joining flat planes of fabric together into simple geometric shapes. The sculptured gowns of earlier eras often required more than 12 separate pieces of fabric, cut and sewn to follow a woman's corseted curves. Poiret's garments often used only one. This kimonolike opera coat from 1919, for example, is made from one length of cloth that is draped around the body but never divided. In devising these new dressmaking techniques, Poiret altered the way clothes were conceived, initiating the distinction between
traditional tailleur (tailored) looks and the new flou (soft)

Paul Poiret, "Kimino Coat," 1919 (left) and "Théâtre des Champs-Elysées" Dress and "Espérance"  Headdress, 1913 (right). Images courtesy Metropolitan Museum, N.Y.

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Paul Poiret, Fancy Dress Costume, 1911. Images courtesy Metropolitan Museum, N.Y.

References: The Way We Move: How Paul Poiret freed us from the corset, by Josh Patner,
Slate, May 18, 2007
References: http://www.metmuseum.org  Poiret the king of fashion
The Way We Move: How Paul Poiret freed us from the corset, by Josh Patner, Slate, May 18, 2007

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