Après Moi: The Story of Josephine Mary Carter

STARRING: Annabeth van Rooijen as Josephine Carter Alina Cortese as Ada Beringer ART DIRECTOR: Francesca Azzoni ACTING DIRECTOR: Melisa Çilli LOCATION MANAGER: Matilde Zani HAIR STYLE and MAKEUP: Matilde Zani Chiara Bernini FASHION DESIGNERS: Karvishi Agarwal Francesca Azzoni Chiara Bernini Arianna Bonifazi Shreya Chhabra

 

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Après Moi: The Story of Josephine Mary Carter

GOZDE TEKIN

I have imagined a silent society:

No one talks, screams, shouts. Talking reduces the time for thinking. Words and sounds that come from mouth just fly to the sky and create extra pollution. Fine arts such as painting/ drawing, sculpture, poetry and music (only the instrumental kind) are used as means of communication. Beside music, the only sounds one can hear are either from nature; animals, wind, etc. or non-living things. Since visualising thoughts takes huge part of the way of relating with others, one have to be perfect in this to explain oneself clearly, of course if one wants to be understood. The children directly start at fine arts school, again no one talks but everybody learns.

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GOZDE TEKIN

giulia conversano

Daughter of the big city life, moved by a free nomad soul.

This is the woman who inspired the collection.

Technical textiles meet the primordial essence of the leather. Metropolitan chaos pollutes the pureness of white, uncontaminated materials.

Frail knit are intentionally snagged, as a result of a lifetime trip.

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giulia conversano

Mayra Sartori: VISUAL  MODIFICATIONS THE INTERACTION Between Garments and Bodies

The collection is inspired by the art of Lygia Clark, as base to understand Lygia Clark´s work as process, creation and results to create a collection of garments and accessories. The collection aims at showing the interaction between the garments and the body and between one body and another.

The person that is wearing the garment can connect the different pieces of the garment, changing their functions to come up with a personal silhouette

During the research some of Lygia Clark works were selected. Some signs, ideas and conclusions of this specific works were used as the starting point of the creative process to the development of the pieces of garments. In the process to understand how it could be done, I used the ideas of interactions, visual modifications and extensions of the space as garment and as a limit between bodies.

I could not follow the usual pattern making construction for clothes; I needed to break the rules, as Lygia Clark broke the art rules in her time with her art pieces. The result is a collection of garments and accessories with the propose of interaction, visual modifications, and sensations using different materials, emphasizing not only the outward but also the functions of the pieces.

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Mayra Sartori: VISUAL  MODIFICATIONS THE INTERACTION Between Garments and Bodies

Oana Juganaru: LAND OF ELEVATED HORIZONS

Traditional arts constitute a major part of any country’s richness, as they describe everything about the people, their ways of living, their beliefs. However, for an artist or designer it is a pretty difficult and risky job to approach such subject, to relate to it but yet to create something new, something fresh.

I have always had admiration for these arts and I was aware of how much work and soul people put in the creation. Of course that, studying in this field, textiles attracted me the most; they seemed to me the closest to the people, as they surrounded their bodies, their houses.

This whole project started about two years ago when I got a weaver from an older aunt of mine, but in fact the thoughts and the ideas that brought it to life date back from my first memories as a child. It required a lot of meditation and inner study to be able to find a way of approaching tradition. As the saying goes, it only takes a spark to get the fire going, and that for me was a piece of writing entitled “Spatiul mioritic” / “The miorithic space” by the Romanian philosopher Lucian Blaga. This book brings to light the beautiful connection between the Romanian people and the geographical space that they live in. People lived a life connected to the landscape: hills of trust and valleys of resignation, as Blaga said. After all the theoretical part was settled inside of me and after learning the basics of the practical part that is weaving, the rest came as a flow, allowing me to freely create both the weaved pieces and the draped pieces. The Romanian traditional costume is built in layers; I wanted to follow that idea in the sense that the first layer that touches the body is of light fabric and light colour, created using the draping technique, whereas the second layer comes to cover and protect, so wool fibers dominate.

The book represents a trip, something very similar to a diary. In the same manner, the order of the pieces also describe a trip through time and space. I tried to describe by weaving certain moments captured in time during the trip. Therefore, it all begins with you admiring this landscape, a sequence of hills and valleys, and deciding to reach a top of a hill. You are aware of the marvelous simplicity of nature that surrounds you as you walk towards the top, you enjoy the ride and you also know that from up there you will be able to see vast land lying before you. As you keep walking, you get closer to the hill, to the top, to the sky, closer to a place where you can be rather above the earthly way of living. Just like in a meditation, the landscape around you becomes something that you assimilate, and then, even with closed eyes, you are able to see all.

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Oana Juganaru: LAND OF ELEVATED HORIZONS