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BA (Hons) Fashion Design Technology: Menswear
NOSTALGIC OBLONG â S/S 14
The starting point of the collection is the work of surrealist artist Meret Oppenheim, who explored ideas of discontinuity of appearance and inverting within her work. The idea of âfacadeâ is explored, considering the duality of the term as a means of developing the collection. Surfaces, exteriors, construction and physical elements are considered but also the idea of social constructions, reality and identity. Parallels are drawn between the idea of 'facade' and aspects of Americana culture. In particular, reference is made to 40âs and 50âs domestic American life, where there is perhaps a feeling of something darker below the idyllic imagery of this period.
Using this context, a 'fake' world is imagined, set in the future, but constructed out of idealised elements of the past, particularly parts of 40's and 50's domestic America, providing the imaginary atmosphere of the collection. The moment where reality is questioned is used as inspiration. It is therefore a mood of calm serenity and peace mixed with a feeling of chaos and confusion. The films of David Cronenberg are also an important reference, particularly Videodrome (1983).
The collection has an 'Americana' look and is a mixture of everyday clothes reworked and presented in a confused way. The classic basic wardrobe found in the 40s 'Americana' look inspires the collection: short Harrington jackets, full leg trousers, open neck collars, v-neck jumpers and 40's style bathing-shorts. Dissecting different components from this look and presenting them in a illogical way, as if the story has been told too many times and parts have become confused, is a key idea. The silhouette is mainly loose and simple but proportions and elements are reworked in a non-traditional way.
By mixing tailored pieces in experimental materials, with obscure prints, full leg trouser and handmade knitwear, an unexpected look is created. Tensions of logical and illogical, conservative and chaotic are found in the silhouette. Garments with reworked proportions sit next to classic items. Some garments are cut in an illogical way such as jackets with shoulder seams which don't connect. The idea for the collection is to show construction in a reworked way, as if it has been altered with, and is also seen in large rectangles overlapping to suggest something which has been concealed. The collection works with lines which create a simple and âstructuredâ atmosphere, like the architecture of constructed beach communities in Florida, which also inspires panels which are assembled to form coats and jackets. A feeling of construction within the silhouette is present throughout. Details like pockets or asymmetrical-angle details suggest openings and surfaces which are cut-open or are coming away. Some garments are subtly asymmetrical to suggest a slight shift in reality.
The collection plays on the idea that our perception of an image can change depending on how close you look, and this is also shown in the fabrication. Some materials that appear painted or flat check are created through treatments like dying and bonding. Construction materials like hessian and jute are used on the exterior of garments. The grid âfacadeâ motif is visible throughout the materials of the collection; seen in 'waffle' cotton, linens and hand knit jumpers using a âgridâ style stitch. The use of unconventional materials next to traditional fabrics creates an atmospheric clash.
Reference is made to the colour palettes found in works by Max Ernst and Meret Oppenheim but also colours from imagery of seaside towns in Florida. The main colours are brown and green, softened by various idyllic pastel colours like lavender and pale yellow, but also black. 'Bad taste' colours like mustard and powder pink are combined and overall there is a âwrongâ feeling to the colours of the collection. Many appear muted, giving the clothes the impression of being dusty or faded.
The idea of expression through collage is key to the collection. A series of chaotic prints creates a tension with the cleaner, 40s and 50s feeling. The prints are illogical, abstract, chaotic and multi-layered, much like the of idea of expression itself. Unlike the simple repeat patterns usually found in the Americana 40s look, and compared to the simple cuts and lines of the collection, the prints feel inaccessible and complex to understand and do not fit completely with the rest of the outfit. Screen printing is also used in a layered way in order to create subtle, physically-textured surfaces.
The aim of the collection is to mix different dress codes such as the 'Americana' look with more expressive elements and make them interact with one another, to create a moment which is neither past, present or future, but a situation out of time. The collection is named after a track by electronic artist Chris Clark, from the LP Clarence Park (2001).
