Sure Shots

patternbase: Pieke Bergmans designed 6 tea towels for the...

Wed, 22 May 2013 09:16:17 -0400

Pieke Bergmans designed 6 tea towels for the Textile Museum in Tilburg (The Netherlands). Each one is infected by the dreaded Design Virus. Her goal is to make “personalized mass production” where irregularities are ruled in.

You can buy them for €15 a piece in blue or red at Wannekes.

via todayandtomorrow.net

oxane: Roland Barthes quote by Rétrofuturs (Hulk4598) /...

Wed, 22 May 2013 06:29:30 -0400

oxane:

Roland Barthes quote by Rétrofuturs (Hulk4598) / Stéphane Massa-Bidal

vroomheid: Pia Myrvold deconstructed/reconstructed...

Tue, 21 May 2013 18:20:48 -0400

vroomheid:

Pia Myrvold

deconstructed/reconstructed garments

top left: reconstructed men’s shirt with elastic shoulder ribbon and PVC square in red button hole.

bottom left: doctor’s coat reconstructed with red PVC edge on collar, bottom draped into folds at the back.

top right and left: “dream sequence” image on deconstructed t shirt and chef’s pants made into skirt.

"At first glance this theme seems almost common sense: you cannot write anything meaningful about a..."

Tue, 21 May 2013 18:06:20 -0400

“

At first glance this theme seems almost common sense: you cannot write anything meaningful about a visual medium without the visual presence of the clothes. This is not self-evident though, and opinions differ. Valerie Steele once critiqued Lipovetsky’s Empire of Fashion (1994) by pointing out ‘There are no pictures in Gilles Lipovetsky’s book…the total absence of pictures is symptomatic of a serious problem, since fashion is such a visual phenomenon’ and goes on to explain that since Lipovetsky just analyzes the cultural significance of the ephemeral in general (though with examples from fashion) it is not relevant to fashion but to political philosophy.

Yuniya Kawamura, on the other hand, has a different take on what studies entail. She sees it as a set of social institutions combining production and consumption. Defining fashion as the process and clothing as the product, she reasons that ‘since the process itself is the object of the study, a fashion-ological perspective of fashion requires no visual materials to explain fashion because it is not about clothing’ (Fashion-ology: An Introduction to Fashion Studies).

In fact a critical examination of fashion practice highlights that it is as much about process as about content, and as much about concept as about object. Therefore it is possible to talk about and theorize sartorial phenomena and ideas without necessarily illustrating one’s argument with ‘clothes’. When art engages with fashion not as ‘aesthetic inspiration’ but as a medium of critical reflection the result may be ‘clothes-free’.

”

- Efrat Tseëlon, “Outlining a fashion studies project”

(via organization)

Photo

Mon, 20 May 2013 07:01:04 -0400

mdme-x: Joel Morrison

Mon, 20 May 2013 05:47:34 -0400

mdme-x:

Joel Morrison

magnificentruin: Do Ho SuhWielandstr. 18, 12159 Berlin,...

Mon, 20 May 2013 05:19:23 -0400

magnificentruin:

Do Ho Suh
Wielandstr. 18, 12159 Berlin, 2011
polyester fabric

kaerleikur: C.P Company, spring2000

Mon, 20 May 2013 05:19:01 -0400

kaerleikur:

C.P Company, spring2000

myimaginarybrooklyn: Gilles Deleuze on Cinema - What is the...

Mon, 20 May 2013 05:18:29 -0400

myimaginarybrooklyn:

Gilles Deleuze on Cinema - What is the Creative Act? (1987)

This 45 minute talk at a conference in 1987 on the “act of creation” in cinema is perhaps the most intimate capture of Gilles Deleuze on film besides the Abécédaire interview. Gilles Deleuze speaks continuously and fluidly in a raspy but gentle and sincere voice that betrays much reverence for the work of figures such as Bresson and Kurosawa, particularly as concerns what Deleuze claims to be an absolute need of theirs to adapt the works of Shakespeare and Dostoevsky for film. Other figures discussed include Syberberg, Straub and Duras, along with a discussion of Foucault and disciplinary societies. Deleuze concludes with a meditation on what he calls the “mysterious connection between the work of art and the act of resistance.”

Photo

Mon, 20 May 2013 03:37:45 -0400

cotonblanc: Ex-libris raincoat in beige ToiletwinBoston 21...

Mon, 20 May 2013 03:00:28 -0400

cotonblanc:

Ex-libris raincoat in beige Toiletwin
Boston 21 straight trousers in brown wool serge with fine stripes

Fuchsia etc.
photography nathaniel goldberg styling thierry colson

Le Monde d’Hermès № 43, 2003 Vol. II, Fall–Winter 2003–2004