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

viviana dell’orto

The INSIDE NATURE LANDSCAPE collection reflects me fully: my background, my personality, my passion for textile design, the care of the whole project from idea to finish. The theme of the collection is nature, in particular the natural landscape: the colors of Brianza, where I grew up and where I live, and the sea breeze of my summers spent in Liguria. Studies on the beauty of the landscape have shown how this has extraordinary benefit to people and how it  influences our daily physical and psychological well-being, generating positive emotions, also affecting our health. The environment also creates part of our identity. In Environmental Psychology, this is defined as a place of identity, and it is intended to indicate all aspects of correspondence between the image of Self and the meanings and values ​​associated with a physical environment. The memories, feelings and preferences relating to aspects of the physical world that derive from our personal “environmental past”, that is, from the relationship with the places of our life that have been useful in the satisfaction of biological, psychological, social and cultural backgrounds. Each grament of the collection is carefully crafted with details and brings with it a special memory of my self, whether it is an image or a sensations. As fashion is the mirror of society and fabric is the first sign of fashion, in a multi-evolved society where the pace of life is frenetic and the landscape around us is ‘industrialized’ wearing the shapes and colors that nature gives us can bring to face the days with a more positive spirit. Nature is a perfect way to reload your soul.

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viviana dell’orto

federica de stefano: The Tales of Fear

From fear to serenity.

I would like to recreate through my work, that emotional process that starts from when we perceive the fear of something, when that same fear that we feel is defeated and removed and we regain serenity. I wanted to represent the project as if it were a panic attack, showing in a collection what you cannot express in real life, which is often difficult to tell ourselves. I have selected eleven people, whom I have asked to instinctively design their most irrational and personal fear. After this first step I went to make digital manipulations on their designs to create patterns that encapsulate and express the meaning of the drawing itself. Almost every piece of the collection has one or more fears on. Because ultimately they are all paper monsters that we carry in and that we can not rip.

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Photography: Larissa Mollace
Models: Susanna Rosi, Lucia Moscato, Sara Gorecka

 

federica de stefano: The Tales of Fear