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September 8th-October 2nd 2010 at the Lisson Gallery
Turkish born artist/designer Hussein Chalayan and Central Saint Martins graduate (1993) has managed to construct an installation that explores composition, music and form all in one.
The exhibition is made up of four different rooms, each one home to an alternate aspect of the composition in itself.
The first, as you walk into the gallery, is a statue of the vocalist herself. Central to the room, your gaze becomes transfixed on her vivacity. The alabaster figure creates the allusion of purity and delicacy, whilst the projector creates contrast as her face is full of energy, enthusiasm and, of course, animation. Chalayan projects the image of the vocalist’s face onto the statue to give the allusion of the figure actually singing: eyes blinking, lips moving—she’s got it all.
The room adjacent to the figure is totally plain. Excluding the numerous speakers of course. This room’s focus is on the voice itself, without background music of any kind. It is clever as it manipulates the voice in itself, rather than allowing yourself to concentrate on both the orchestra, as well as the vocalist.
With much anticipation I stumbled downstairs into a dark room filled with yet another projection. This time, it was complete with vocals, orchestra and visuals.
The last space was occupied with yet another projection, this time of
the orchestra alone.
The installation itself seemed exceptional at first, until further investigation. To me it lacked substance and seemed somehow inadequate in comparison to his intense and design. Simplicity, might be what he may have been aiming for. However, the installation does deserve some accreditation as Chalayan was taking a fresh and alternative approach in contrast to his usual art.
The order of this concept was somewhat confusing. The gallery space seemed rather insufficient to say the least. I would have thought that the main projection should have come first, and then gradually waned in descending order.
To conclude, the installation held an impressive stance and deserves much praise. Particularly the constant eye contact from the vocalist in the main projection. However, it was something less than what I expected from the renowned Hussein Chalayan.
The eternal quest for the beautiful bikini drags on.
H&M’s summer campaign is right under my nose, and I’d say it’s slightly too close. £3.99 bikini tops? I guess that explains the unfortunate choice of pattern and colour. It’s a shame as they hire such gorgeous and renowned models to wear such vulgar pieces. To be fair they are plain and simple, so perfect if you’re not too bothered. But for those who are, I have hunted down a few exquisite and interesting bikinis…
The new high-waisted style bikini bottoms are irresistable for le petit derriere.
Less is certainly not more…
And a unique take on the one piece from Peter Jensen:
Jean Pierre Braganza Fall Collection ’10
One eye-catching collection was that of the St. Martin’s graduate Jean-Pierre Braganza. His cyclonatron collection consisted of dark colour tones such as blacks and burgundy’s which gave the outfits a real edge which grabbed my attention among the other shows exhibited at London Fashion Week.
Much like Marios Schwab’s collection, Braganza embraced the futuristic and modernised look within his fall collection. It was abundant in bodycon and origami-type shapes with wide shoulders and digital tie-dye prints. Once again, the fascination of hard versus soft materials were evident in this collection, particularly the coal-black leather panels.
Braganza used a lot of hard tailoring, creating structured and tight-fitting garments which oozed sex appeal with an innovative twist.
What really made the collection for me was the peculiar hair styles which were enthralling and laid emphasis on Bragnanza’s futuristic approach to his fall collection this year.
Yuketen is one footwear brand which caught my eye. All of the shoes are made from the most durable and valuable raw materials and provide comfort as well as style.
I recently discovered Mr. Hare’s footwear. The shoes are perfection in themselves and the photography on the website is experimental and enlightening…
These shoes are available at Dover Street Market and oki-ni.com.
Out of the collections showcased so far at London Fashion Week, Rocha’s fall collection was one of the best by far.
It was bold, brave and bedazzling. The simplicity of the colours contrasted surprisingly well with the variety of shapes within the collection. The darker tones stressed the audaciousness of the collection whereas the carefree creams and pale pinks accentuated the autumn season.
The fabrics within the collection added to the hard versus soft trend displayed within a great deal of the collections exhibited at LFW. The use of leather, for instance, in one of Rocha’s dresses, was executed competently when matched with a long, fragile-looking paneled dress.
Rocha also matched the lighter and softer looking fabrics with more perceivably complex outfits. A few of his dresses appeared rugged, frayed and shredded. This look was accentuated due to the tights, which were a pivotal point to the collection in itself. The tights and sleeveless gloves added to the Celtic versus Goth representation of his fall collection—particularly the cut out knees. To top off a magnificently fabulous collection, Rocha included tall bonnets and bowler hats which infused a good deal of embellishment and drama to a meticulous and wearable collection.
Well done Rocha, and thank you for a truly memorable and inspirational collection.