Muse Lifestyle Sheet

My Muse - Amandine

I have named my fictitious muse Amandine which means 'she who must be loved' and her story begins as a young orphaned girl. I find her at the age of 20 when her life is beginning the transformation from that of brokenness to that of wholeness; from worn and tattered to fresh and new; from restriction and barriers to unlimited freedom. This transformation comes as a result of the unconditional love she receives from a man. The two of them fall in love and make their own life in a beautiful cabin in the woods where they are free.

Amandine had never expected her life to alter. She had expected to remain an unloved orphan forever. However, her process of healing brings her to an unequalled appreciation for the simple freedoms of life which allow her to feel the wind in her hair and the sun on her face. She feels most at home in the out of doors which are so far removed from the confining orphanage in which she lived for so many years.

Amandine loves the woods. She loves to ride horses and bicycles and feel close to nature. She loves to read and allow her mind to roam free. In a similar vein, she also loves to pen her own thoughts and to capture the beauty around her with brushes and paints so that she never forgets. She feels her life has become a song since falling in love; a beautiful melody, and she endeavours to one day play the tune on her beloved piano.

Amandine also possesses a fascination for feathers and has taken to collecting them. The reasoning for this is quite simple -

Feathers remind her of birds.

Birds remind her of flight.

Flight reminds her of freedom.

Mentor Profile - Rodarte

Above: Image from Rodarte’s Fall 2008 collection.

Rodarte is a womenswear label which was established in 2005 by sisters Kate and Laura Mulleavy. ‘When asked ‘What exactly is the Rodarte aesthetic? They replied: ‘Beautiful, but also smart and thought-provoking. And we like clouds. Like when a lot of fabric ends up weighing nothing. We did this one dress that had thirty metres of silk tulle, but it was practically weightless. Sometimes we’ll use twenty fabrics in a single dress.’ I find this concept to be very inspiring. Rodarte gowns often consist of many layers of light-weight cloth which give them incredible movement and fluidity, both of which are key components I want to achieve in my own collection. There is a melodious feel about their collections and this is highlighted by Interview Magazine where it is written ‘poetry...has become the touchstone of their work.’ (2012)

Rodarte has made a very well respected name for itself as a result of the Mulleavy sisters’ attention to detail and the great care taken in the construction of each garment. This is evidenced by Art Critic John Kelsey who writes that ‘Kate and Laura, who live and work between downtown Los Angeles and Pasadena, California, have consistently brought their love of nature, film, art and science to bear upon their unconventional and exquisitely crafted collections.’ (Kelsey 2011) Writer Gestaldo concurs, stating that ‘Rodarte...has become synonymous with handcrafted, authentic, extremely well-made clothes’ (2009). This attention to detail and craftsmanship is one reason I look to Rodarte as a mentor.

Another primary reason I find Rodarte so inspirational is the way in which the Mulleavy sisters look to nature when researching and designing their collections which frequently depict aspects of landscapes. Alongside their devotion to natural inspiration lies their constant muse who also interacts heavily with her natural surroundings. Fashion Journalist Mark Holgate writes of an interview with the sisters ‘”We were once asked,” recalls Laura, “’where do you imagine your clothes being worn?’ And we said that we have this fantasy of a woman living in a log cabin in the woods, and she leaves one of our dresses on a chair, and it gets bleached in the sun.”’ (Holgate 2005) My own muse is similar – an ethereal, innately feminine woman who is very much in touch with her surroundings. A certain purity exists between her and nature, and she revels in the incredible freedom it affords her. Rodarte collections tell such unmistakable stories and I hope that my own collection will do the same. For example, the story behind Rodarte’s Spring/Summer 2012 collection was explored through a fashion film featuring Elle Fanning. It was entitled ‘The Curve of Forgotten Things’ and is very clear and evocative, characteristics I hope my own collection will attain.

Unusual and unexpected fabrication combinations are another innately Rodarte characteristic. Art Critic Yablonsky writes of how the ‘designs of leather, chiffon, wool and lace strips that bind, wrap, fall off or disappear in the body. All look difficult to put on without assistance and are definitely aimed at the connoisseur, not the shopaholic.’ I find this inspirational because, in terms of my own collection, I am looking to generate garments from unorthodox fabric combinations. I also hope to create garments which are really unique – most suited to ‘the connoisseur, not the shopaholic.’

While Rodarte gowns are often considered to be exquisitely romantic and beautiful, they also possess a certain deconstructionist aesthetic. This is another reason I look to this particular label as a mentor. For my own collection I hope to create some exquisite gowns, however, I want these gowns to look worn and give hints to the early life of my muse prior to her transformation. The deconstructionist elements of Rodarte gowns serve to make them even more beautiful and to give them a much greater depth of character which I can really appreciate.

Thus, I look to Rodarte for inspiration as the collections produced by this fashion house exemplify the worn, romantic and ethereal aesthetic I aspire to generate in my own design work. The level of craftsmanship, creativity and innovation is so high that looking to Rodarte will always cause me to be aiming higher, and this can only be deemed a good thing.

Reference List

2007, Supernova: Hint seeks out rising stars of design, Hint Fashion Magazine, New York, viewed 19/03/2012, < http://www.hintmag.com/supernova/supernova_rodarte1.php>

2011, Elle Fanning – Rodarte: The Curve of Forgotten Things, video podcast, youtube, viewed 22/03/2012, <http://www.youtube.com/watch?v=K7TJjjZ9yGw>

2012, Fashion: Rodarte, Interview Magazine, viewed 21/03/2012, < http://www.interviewmagazine.com/fashion/rodarte-natalie-portman/#_>

2012, Rodarte Label Overview, New York Magazine, New York, viewed 20/03/2012, <http://nymag.com/fashion/fashionshows/designers/bios/rodarte/>

Durham, A., 2011, Reviewing Rodarte: Topographies of Collaborative Thinking, Critical Digital Humanities, viewed 27/03/2012, <http://cdh.ucr.edu/2011/09/08/reviewing-rodarte-topgraphies-of-collaborative-thinking/>

Gestaldo, E., 2009, Rodarte deal with Target a mistake, Newser, viewed 21/03/2012, < http://www.newser.com/story/75977/rodarte-deal-with-target-a-mistake.html>

Holgate, M., 2005, ‘Fashion: View: The Young Americans Rodarte: It’s the X Factor’, Vogue, Vol. 195, No. 12, pp. 200-202.

Kelsey, J., 2011, Rodarte, JRP Ringier Kunstverlag AG, Zurich.

Wilson, E., 2011, At Rodarte, a Van Gogh Exhibition, The New York Times, New York, viewed 23/03/2012, <http://runway.blogs.nytimes.com/2011/09/13/at-rodarte-a-van-gogh-exhibition/>

Yablonsky, L., 2011, Close Encounters: The Art and Fashion Cachet, Artnet, New York, Viewed 23/03/2012, <http://www.artnet.com/magazineus/books/yablonsky/rodarte-catherine-opie-alec-soth-9-19-11.asp>

Mentor Profile - Chloe

Above: A selection of looks from Chloe's Spring/Summer 2011 collection.

The Chloé philosophy lies in creating effortlessly chic garments for the modern woman. This statement is supported by fashion editor Daniel Dykes who writes ‘Chloé chic is...a daytime aesthetic that confines itself to the space between casual and dressy, always appealing to the girl who wants effortlessness as her overriding quality...That spirit of easy, Parisian-infused dressing.’ (Dykes 2012) This philosophy is communicated through the way in which, according to fashion editor Helene Schoumann, the designers at Chloé stay ‘true to the Parisian sense of chic, women prefer Chloé’s unique, simple, ephemeral style with pure lines. Modern clothes which speak their language.’ (Schoumann 2002, pp. 10) To a degree, these statements also sum up the aesthetic of the Chloé label, however, Simon Chilvers, assistant fashion editor for The Guardian, quite simply labels the Chloé aesthetic as ‘feminine minimalism.’ (Chilvers 2011)

The style of Chloé is innate. As a result there are certain garments and styles of garments which are iconic for the label. One of these garments is undoubtedly what Fashion editor Nicole Phelps labels ‘the breezy, uncomplicated frock that is Chloé’s claim to fame’ (Phelps 2012). This dedication to the creation of dresses is one particular reason I view Chloé as a muse. I am hoping to create a final collection which incorporates a number of dresses as that is where my own design sensibility lies.

I find Chloé to be an inspirational label for my own work because I really appreciate the effortless femininity which the label embodies. The garments are always timeless without ever losing a certain freshness, youthfulness and vibrancy. These are all characteristics I hope my work will possess. Another aspect of the label which I find inspirational is its ability to continually reinvent the subtle colour palette so that it never becomes boring. Schoumann writes that ‘throughout the years, Chloé remained faithful to the subtle shades of the desert: sand, pink, powdered hues in clothing.’ (Schoumann 2002, pp.9)As a designer, I find that my own design sensibility leans towards the soft and the subtle, in terms of both fabrications and colour palette, hence, I am constantly inspired by the way in which different textures, weights and tones can really transform gentle, understated colours and fabrics into outfits which make an elegant statement.

In terms of what I can learn about my own design work through a study of Chloé, I have discovered that the designers of the label really stay true to the muse which has existed within the label since ‘the French brand...originated in Paris in 1952’ (Elle 2012). Helene Schoumann describes this muse well in her book Chloe. She writes

How can one describe the Chloe woman of today? She’s sexy, elegant, indestructibly feminine. She is serene, generous, enthusiastic. The brand presents its own version of fashion, walking forward hand in hand with history. Chloe has tied the knot between the values of the woman of yesteryear and the woman of tomorrow with the grace of eternity and timelessness. (Schoumann 2002, pp.15)

Henceforth, I believe that my study of Chloé has educated me about the importance of the muse. Developing a muse will help me to develop a unique look which is consistent with the aesthetic I want to present in my final collection.

Therefore, Chloé is one particular label which I consider a mentor that I look to for inspiration for my own design work. It is a fashion house which embodies the essence of soft, delicate, feminine elegance which I hope to incorporate in all aspects of my own design work throughout my fourth year final collection and beyond.

Reference List

2011, Chloe, Hearst Communications, viewed 21/03/2012, <http://www.elle.com/Fashion/Designer-Files/Chloe>

2012, Chloe Fall Winter 2012-2013, Chloe, viewed 21/03/2012, <http://www.chloe.com/#/collections/ready-to-wear/winter-runway-2012-2013/press-release/en>

Chilvers, S., 2011, Chloe names Clare Waight Keller as new creative director, The Guardian, London, viewed 19/03/2012, < http://www.guardian.co.uk/lifeandstyle/2011/may/09/chloe-clare-waight-keller-director>

Davis, B., 2006, Chloe: Always Infusing New Blood, Fashion Windows, viewed 21/03/2012, <http://www.fashionwindows.com/runway_shows/chloe/default.asp>

Dykes, D. P., 2012, Chloe’s daywear aesthetic holds strong, Rogue Menage, Melbourne, viewed 21/03/2012, <http://www.fashionising.com/runway/b--chloe-aw-12-21539.html>

Entwistle, J., 2009, Tacit Aesthetic Knowledge: The Fashion Sense and Sensibility of Fashion Buyers, The Berg Fashion Library, viewed 23/03/2012, <http://www.bergfashionlibrary.com/view/AESECOFASH/AESECOFASH0008.xml>

Major, J. S., 2005, Lagerfeld, Karl, The Berg Fashion Library, viewed 23/03/2012, <http://www.bergfashionlibrary.com.ezproxy.lib.uts.edu.au/view/bazf/bazf00353.xml?q=chloe&isfuzzy=no#highlightAnchor>

Schoumann, H., 2002, Chloe, Assouline Publishing, New York.

Watson, L., 2008, Vogue Fashion, Carlton Books, London.

The Designer and the Muse

Above: Marc Jacobs and muse Sofia Coppola.

Above: Hubert de Givenchy and muse Audrey Hepburn.

The relationship of the designer and their muse is an interesting one. The muse is, ultimately, the personification of the style and aesthetic the designer wants to portray. However, this relationship is usually considered to be mutual with both parties benefiting from one another. One particular point to note is that the muse is not the customer. Rather, the muse is the ideal; the unattainable idea which draws the customer in.

Some particularly notable designer/muse relationships over time include

- Hubert de Givenchy and Audrey Hepburn

- Marc Jacobs and Sofia Coppola

- Henry Holland and Agyness Deyn

- Yves Saint-Laurent and Loulou de la Falaise

- Riccardo Tisci and Mariacarla Boscono

- Alexander McQueen and Isabella Blow

- Haider Ackermann and Tilda Swinton

References

Mancoff, D. & Raz-Russo, M., 2011, Musing on the Muse, Encyclopaedia Britannica, viewed 27/03/2012, <http://www.britannica.com/blogs/2011/02/musing-on-the-muse/>

5 Words Take Two...

Above is an updated and simplified version of the 5 words I have used to best describe the style, aesthetic and mood I wish to create for my major project.

Hussein Chalayan

One particular collection which captures the essence of a deconstruction aesthetic is that of Hussein Chalayan from Spring 2002. The garments appear to be almost disintegrating on the bodies of the models, however, they maintain quite an ethereal, dream like quality. The harmonious colour schemes used for each outfit prevents the deconstruction style from appearing 'cheap' and the layering and different textures used have resulted in visually rich garments.

Chloe

Chloe is a mentor for me because it is a label which is innately feminine, yet never overdone. Chloe incorporates elements of both drape and tailoring to create sophisticated collections which are often understated yet always refined and beautiful. Chloe’s Spring 2011 collection is one which particularly inspires me. I especially love the layering of sheers and the monochromatic outfits which are kept far from boring as a result of combining different textures, weights and layers of fabrications. The movement which is captured in the long, flowing skirts is certainly something I hope to achieve in my own collection.

Felicity Brown

The work of Felicity Brown is exquisite. I have been researching her collections to look closely at the way she uses layering to create volume with lightweight fabrics. I have also been intrigued by her exploration into colour and the exquisite colour combinations she executes in her collections. Vogue Italia has labelled her work ‘raw yet refined’ and I think that a phrase such as this embodies what I hope to achieve in my own womenswear collection.

Rodarte

One particular Rodarte collection which really inspires me is the Spring 2009 collection. The way they have used contrasting fabrics such as chiffon and leather in certain garments is very unusual and beautiful. Tonal gradation also plays a large and beautiful role in giving the garments greater depth. Even the nude pieces are visually rich and engaging because of the subtle texture and tonal differences which feature.

Design Mentors

There have been a few different womenswear designers that I have been analysing in light of my own style and aesthetic over the last couple of weeks. Each captures a different aspect of my imagination and consequently, the work of each one speaks to me in a different way.

Rodarte by Kate and Laura Mulleavy is one label which I find particularly inspiring. Their collections are probably much more eccentric and dramatic than my own personal design sensibility would allow, however, I can relate to the ethereal, dream-like quality of their garments, as well as the rawness and romanticism they evoke.

The work of Felicity Brown is also very inspiring for me. She devotes much thought to colour and colour combinations, using subtle gradation of tone to create beautiful outcomes. She also uses techniques such as layering and the pairing of the voluminous and the sleek to create very beautiful and visually rich garments.

Chloe is another of my design mentors. This label is synonymous with classic femininity which is understated but innately elegant. As with Rodarte, there exists a certain ethereal quality, however, Chloe is much more refined and streamlined in its design approach which is more in line with my own design sensibility.

I would also consider Hussein Chalayan to be one of my design mentors, although I do find that some of his collections are much more inspiring for me than others. His ability to compose garments which possess both tailored and draped components, along with his sometimes deconstructionist aesthetic is very unusual and skilful. Both of these techniques are ones which I would like to explore through my own womenswear collection.

5 Words...

When brainstorming different emotive words to describe my style or aesthetic, I really reflected on the concept I am working on developing for my collection. This allowed me to effectively generate words which evoke certain feelings that I hope to convey through the body of work I will produce. I found that searching for the synonyms associated with every word I wrote down allowed me to most effectively pinpoint 5 words which embody my aesthetic.

Mood Board/Style Sheet

In creating my mood board, I considered the certain emotions and responses I want to evoke in the viewer. I want them to feel a definite sense of freedom and lightness. I want them to feel a connection with my muse as she moves out of a life of confinement and into a life of new-found liberty. I want them to relate to her journey as she walks along a path, taking the last few steps and breaths of her old life, before the revelation dawns upon her that she never has to return to it. She is stepping into the new, the limitless, the light, the breathtaking abundance of life.

Descriptives...

Exploring words for my collection...

Free //

Liberated

Unconstrained

Unrestricted

Delicate //

Fragile

Soft...Muted...Whispery

Ethereal //

Airy

Transformative //

Metamorphose... Transfigure

Lyrical //

Melodious

Musical

Light//

Buoyant

Illuminated

Pure

Worn//

Aged

Frayed

Ragged

Freedom

I have been looking a lot over the past week at the concept of freedom - what it means to be free and the mood and feelings which freedom evokes.

free·dom/ˈfridəm/ Show Spelled[free-duhm]

noun

1. the state of being free or at liberty rather than in confinement or under physical restraint: He won his freedom after a retrial.

2.exemption from external control, interference, regulation, etc.

3. the power to determine action without restraint.

4. political or national independence.

5. personal liberty, as opposed to bondage or slavery: a slave who bought his freedom.

Definition from http://dictionary.reference.com/browse/freedom

Images from:
http://pinterest.com/pin/136163588703259838/
http://teenangster.net/2010/05/ruth-st-denis-circa-1915/
http://pinterest.com/pin/206884176601816862/

Transformation

For my fourth year I have chosen to create a womenswear collection based upon the concept of the transformation of the woman. This transformation can be viewed in many different lights, for example, the transformation of Cinderella as she moves from a life of exploitation and misery into a life of beauty and abundance. It could be seen in the form of Vivien - the protagonist of the film Pretty Woman - who gradually moves out of a life of bitterness and brokenness into a life of joy and light. It could also be observed through the character Angel who appears in the Francine Rivers novel Redeeming Love who's life radically metamorphosises through the transformative power of unconditional love which she receives from Michael Hosea.

Ultimately, I want my collection to be centred around the pivotal moment of tranformation or transfiguration. Hence, it will incorporate elements of the old, the worn and the broken with elements of the fresh the new, the beautiful and the feminine.