INSPIRATION - Tall Painting

INTERIOR DESIGN - Cup light

Pour Me Some Light

Human actions play such a significant role in design; it’s either evident in the form or in the function. In the Pouring Light, the action is evident in the form and is delightfully executed as well! With the motive of giving off “an emotional flow of light”, the lights linger on with a mesmerizing effect thanks to the use of phosphorescence in the “water” part. Yeongwoo suggests the use of LED lights to conserve energy, and my suggestion to him: get this in the market ASAP!

Designer: Yeongwoo Kim
 

LED Symposium - EXPO 2011

LED Lighting Technology Event 27-29 Sept 2011, Bregenz-Austria


-----> Watch my other post on Tall painting INSPIRATION here

INSPIRATION - The Bauhaus Textiles of Gunta Stölzl & Anni Albers

"Gunta Stölzl (5 March 1897 – 22 April 1983) was a German textileartist  who played a fundamental role in the development of the Bauhaus school’s weaving workshop. As the Bauhaus’s only female master she created enormous change within the weaving department as it transitioned from individual pictorial works to modern  industrial designs. She joined the Bauhaus as a student in 1920, became a junior master in 1927 and a full master the next year. She was dismissed for political reasons in 1931, a year before the Bauhaus closed under pressure from the Nazis. 

 The textile department was a neglected part of the Bauhaus when Ms. Stölzl began her career, and its active masters were weak on the technical aspects of textile production. She soon became a mentor to other students and reopened the Bauhaus dye studios in 1921. After a brief departure, Stölzl became the school's weaving director in 1925 when it relocated from Weimar to Dessau and expanded the department to increase its weaving and dyeing facilities. She applied ideas from modern art to weaving, experimented with synthetic materials, and improved the department's technical instruction to include courses in mathematics. The Bauhaus weaving workshop became one of its most successful facilities under her direction." 

 

Anni Albers

"At Walter Gropius's Bauhaus she began her first year under Georg Muche and then Johannes Itten. Women were barred from certain disciplines taught at the school, especially architecture, and during her second year, unable to get into a glass workshop with future husband Josef Albers, Anni Albers deferred reluctantly to weaving. With her instructor Gunta Stölzl, however, Albers soon learned to love weaving's tactile construction challenges." 

EXHIBITION - Madame Grès - Musée Borduelle PARIS

Tusday, 22 2011

"My dream was to become a sculptress because working with textile or stone is the same thing". This are the spoken words of the artist and stylist Madame Grès(1903-1933) during her life.
Leggendary Haute Couture icon with an avangarde approach that made her garnments well-known for their ellenistic cuts and her strictly minimalism style; Her inspiration came through the purity of the ellenistic sculpure and ancient civilisation, from North Africa to India.
Germaine Emilie Krebs, the future Madame Grès started her carrier as a dressmaker.

It's around 1942 the opening of the first maison that she had managed sine 1988 always guide by the idea of a dress without stitching and through the desire to transform woman silohuete into a Dea.

She had several famous clients such name as Marlène Dietrich, Greta Garbo, Arletty, the Talleyrand's Duchess and woman by the turkis aristocracy. Symbolic creations remain the draped evening dresses carried out from 1930 since 1980 that they give a price to her regarded hard work with the Dé d'or in 1976. Alway in silk or jersey, her colour palette variated through ivory to pearly gray, this creations demonstrate the everlasting allure that they have, so much that photographers as Richard Avedon or Guy Bourdin proposed them again. Too simple on the face they hide high sartorial ability. The dresses and the coats made in the '50 facing the society casual and informal wave as the conceptual design of '60 '70, they still persist as an estimable way to drawn ispiration for young stylist generation.

Martedi, 22 2011

“Volevo diventare una scultrice in quanto per me lavorare un tessuto o la pietra è la stessa cosa”. Queste le parole pronunciate spesso dall’artista e stilista Madame Grès (1903-1993) nel corso della sua vita.
Figura leggendaria dell’alta moda dall’approccio avanguardista che ne ha reso celebri gli abiti dal taglio scultoreo e lo stile rigorosamente minimalista; le sue fonti di ispirazione erano la purezza della scultura ellenica e la tradizione delle antiche civiltà, dal Nord Africa all’India.

Germaine Emilie Krebs, la futura Madame Grès iniziò la propria carriera come sarta.  Risale al 1942 l’apertura della della sua prima casa di moda che continuò a gestire fino al 1988 sempre guidata dall’ideale di un abito senza cuciture e dal desidero di voler trasformare la silhouette femminile in quella di una dea.

Tra le donne celebri che indossarono i suoi capi ci sono Marlène Dietrich, Greta Garbo, Arletty, la Duchessa di Talleyrand e varie donne dell’aristocrazia turca. Tra le sue creazioni più emblematiche ci sono senz’altro gli abiti da sera drappeggiati creati tra gli anni 30 e 80 che le valsero il Dé d’or nel 1976. Sempre e solo in jersey o seta, in una palette di colori che varia dall’avorio al grigio perlato, tali capi strutturati hanno dimostrato di possedere un allure senza tempo, tanto da essere, riproposti da varie testate di moda, fotografati da Richard Avedon o Guy Bourdin. Semplici all’apparenza, se esaminati più attentamente rivelano capacità sartoriali di gran pregio. Gli abiti e i cappotti realizzati negli anni 50 all’ insegna di uno stile maggiormente casual e informale così come il design concettuale degli anni 60 e 70 continuano ad essere una fonte di ispirazione inestimabile per la moderna generazione di stilisti.

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Per la prima mostra al di fuori delle mura, il Musée de Galliera (chiuso per restauro fino al 2012) ha spostato la sua prima retrospettiva dedicata a Madame Grès presso il Musée Borduelle. Il corpus espositivo comprende circa ottanta capi provenienti dal Museo Galliera e da collezioni private, oltre a fotografie originali e schizzi di proprietà degli archivi della Maison Grès generosamente acquistati e donati al Museo da Pierre Bergé – Fondazione Yves Saint Laurent.

Nota per aver adottato il turbante, Madame Grès si congedò dalla moda discreta e in silenzio e morì all’età di 90 anni lasciando in eredità ai posteri la sua arte elegante e senza tempo come le antiche statue greche.

MUSIC - aphex twin / vordhosbn