Silky White Shorts

devidsketchbook:

COMMUNICATION

Costumes designed in collaboration with Madeline Moore. lanta-based, interdisciplinary studio of Branden M. Collins

Branden is currently working as a designer at Cartoon Network & Adult Swim. - “Communication”, features two costumes designed by myself & artist, Madeline Moore. 

Photography by Brian Smith

(via iamtiredofmoney)

cotonblanc:


Gorgon Radeo/ForcefieldNew School, 12 new designers prepare to make their mark on the fashion world

V Best: Five Years of V Magazine by Norman Mailer, Edition 7L

cotonblanc:

Gorgon Radeo/Forcefield
New School, 12 new designers prepare to make their mark on the fashion world

V Best: Five Years of V Magazine by Norman Mailer, Edition 7L

amandlameanspower:

'Flatness'

"It is probably not wrong to assume that deep in the mind of every Japanese person lies the culture of the kimono. In the making of a kimono, an uncut length of fabric is put on the human body, resulting in an excess of fabric that creates drapes. The Japanese see this excess as ma (roughly translated as ‘space’) and never consider it illegitimate. The Japanese designers’ baggy, shapeless dresses were also, in many cases, asymmetric - another core element of Japanese aesthetics. Their designs demonstrated a universal approach to clothing, breaking down the barriers of gender, age and body shape just as a kimono does."
-Future Beauty: 30 Years of Japanese Fashion

photographs - Naoya Hatakeyama

garments - Rei Kawakubo/Comme Des Garcon

collections in order of appearance -
Autumn/Winter ‘92-‘93
Spring/Summer ‘98
Autumn/Winter ‘83-‘84
Autumn/Winter ‘83-‘84
Autumn/Winter ‘83-‘84
Spring/Summer ‘84

(via primitiveworlds)

vroomheid:

1997 IG/RS, Jurgi persoons spring—summer 1998, Antwerp October 1997.
In 1992 Jurgi Persoons graduates from the fashion department at the Antwerp Academy and three years later he starts hiw own women’s collection. From 1999 he shows his collection in Paris in the form of static presentations, quite similar to performance. His oeuvre can be describes as a radical and even trashy interpretation of the classical female wardrobe. In 2003 he stops his own collection and leaves the world of fashion.
Hettie Judah: Grognard and Stoops’ response is not only to leave things revealed, but also to emphasise the fragility of beauty by playing with ugly, through those monstrous masks and through experiments that emphasise the mortality of human flesh; legs and bodies bound with scotch tape or elastic bands. Much as both their commercial and personal work celebrates the beauty and spirit of youth, there is also a suggestion of death and decay, visible not only in their habitually dark collaborations with designer Jurgi Persoons.

vroomheid:

1997 IG/RS, Jurgi persoons spring—summer 1998, Antwerp October 1997.

In 1992 Jurgi Persoons graduates from the fashion department at the Antwerp Academy and three years later he starts hiw own women’s collection. From 1999 he shows his collection in Paris in the form of static presentations, quite similar to performance. His oeuvre can be describes as a radical and even trashy interpretation of the classical female wardrobe. In 2003 he stops his own collection and leaves the world of fashion.

Hettie Judah: Grognard and Stoops’ response is not only to leave things revealed, but also to emphasise the fragility of beauty by playing with ugly, through those monstrous masks and through experiments that emphasise the mortality of human flesh; legs and bodies bound with scotch tape or elastic bands. Much as both their commercial and personal work celebrates the beauty and spirit of youth, there is also a suggestion of death and decay, visible not only in their habitually dark collaborations with designer Jurgi Persoons.

(Source: dekonstruktivisme, via contagium)