LULA

20 Novembro 2009

ROSA MARTINEZ ISLA, ganadora TESOIRA 2009

"Aires de oriente con intención de conservar una milenaria tradición, aportando nuevos datos con tendencia futurista, que buscan resolver la incertidumbre de lo que puede ser el mañana".

“Nipona” es el título de la colección con la que la viguesa Rosa Martínez Isla obtuvo el primer premio de la decimoctava edición del Certamen Gallego de Creadores Jóvenes de Moda.
Me alegro tanto por este premio, me parece super merecido, Rosa es un encanto, y su trabajo es super especial, toda la suerte del mundo!! :)

18 Novembro 2009

JANDRISIMO

El vigués Jandro Villa gana la Pasarela Internacional de Jóvenes Diseñadores

Su colección, "Yankee O", es una crítica a la cultura del desperdicio

El diseñador vigués Jandro Villa, con uno de sus modelos. José Lores

El diseñador Jandro Villa (Vigo, 1982) ganó ayer el primer premio de la Pasarela Internacnional de Jóvenes Diseñadores celebrada este fin de semana en Vigo con su colección de alta costura para mujer "Yankee O", una revisión del capitalismo y de la cultura del desperdicio a través de fetiches como Jackie Kennedy (Yankee O). El jurado otorgó el segundo premio a Roberto López Etxeberría (Guipúzcoa, 1976) por la colección para hombre "Dress Code" y el tercero a otro vigués, Alberto Neves (1983) por sus propuestas prêt-à-porter "Sublime sublima".
Visiblemente nervioso tras obtener el primer premio, Jandro Villa reconoció ayer que este reconocimiento era un incentivo para su carrera. "Cualquier premio nos viene bien porque al ser jóvenes y diseñadores no tenemos ningun tipo de ayuda", aseguró. Pero para este modisto vigués, asistente de diseño de la firma Jesús Peiro, el ambiente familiar que hubo entre los diseñadores fue el mayor premio. "Hubo mucha colaboración en los desfiles y esto es fantástico", aseguró Villa, que en las dos últimas ediciones de "El Ego" de Cibeles trabajó como asistente de la gallega Marta Montoto y anteriormente de Lydia Delgado.
Además de estos tres ganadores, el jurado, formado por profesionales de la moda de gran reconocimiento, concedió dos accésit a la pamplonesa Edurne Ibáñez por "Garlik & Kautxo" y a las vizcaínas Miriam Hernández y Jone González por la colección conjunta "Tineidae". Asimismo, la pamplonesa Hania Iriarte, con la colección "XKNO?" se llevó la mención especial a la colección mejor complementada, mientras que la guipuzcoana Marta Muñoz, con "Sexto continente", fue distinguida por la colección más creativa y la cacereña Rocío González obtuvo la mención especial a la mejor confeccionada por "Total Black"• En esta pasarela viguesa participaron un total de 31 diseñadores de nueve comunidades autónomas y también de Portugal.
Para Jandro Villa, las relaciones sociales son cruciales en el mundo de la moda. "Son las que te ayudan a comenzar y a seguir, y las que evitan que te inventes historias. Yo me dedico a pasármelo bien y a reírme", aseguró ayer, poco antes de coger su avión de regreso a Barcelona.
El creador confesó que no esperaba ganar ningún premio y menos, el primero porque "Yankee O" es una colección "coñera". "Es una crítica al capitalismo, al fetiche norteamericano, a cómo una chaqueta manchada de sangre (la que llevaba Jacqueline Kennedy el día del atentado de Dallas) es un éxito de venta al día siguiente y es copiado en otros modelos, y a la moda como reflejo de todo esto", explicó.
Totalmente conceptuales, los modelos de "Yankee O" están concebidos como maquetas arquitectónicas: rígidas y montadas. "Me interesa trabajar el concepto, lo que quiero que comuniquen las prendas. Trabajo lo que quiero que digan las cosas", detalló.
PODEIS VER MÁS FOTOS DE SU COLECCIÓN EN ESTE ENLACE
"Yankee O"
Y PODEIS VER MÁS COSILLAS SOBRE SU TRABAJO ARTÍSTICO EN ESTE OTRO
JANDRISIMO
(tengo que decir que hace ya un par de semanas, pero se me fué el santo al cielo y no lo publico hasta hoy....)

17 Novembro 2009

LORNA SIMPSON

Parts, 1998, Serigraph on 12 felt panels with 1 text panel, 259 x 254 cm.

TEXT PANEL:
As they reached the Bronze period-the second to last room, they observed that all the visitors had securely fastened their headsets and moved from object to object, completely oblivious to any ambient sound. Their gaze and pace was guided by the tapes. There was the possibility that no one would notice except maybe the guards, but they did not wander far from the large groups with headsets. Generally, museum-goers feel it is more efficient to work their way from the top down. In the past, staircases were the ideal location; the landing just above the exit door to the top floor of the exhibition space worked well, and if people could hear you they would maybe stop and listen, but would not venture to look. Therefore, hardly anyone went beyond this point to the next landing, and staff rarely used the public staircase. Unfortunately, this institution did not have that vertical expanse.

LORNA SIMPSON

Lorna Simpson was born in 1960 in Brooklyn, New York, and received her BFA in Photography from the School of Visual Arts, New York, and her MFA from the University of California, San Diego. When Simpson emerged from the graduate program at San Diego in 1985, she was already considered a pioneer of conceptual photography. Feeling a strong need to re-examine and re-define photographic practice for contemporary relevance, Simpson was producing work that engaged the conceptual vocabulary of the time by creating exquisitely crafted documents that are as clean and spare as the closed, cyclic systems of meaning they produce. Her initial body of work alone helped to incite a significant shift in the view of the photographic art’s transience and malleability.

Lorna Simpson first became well-known in the mid-1980s for her large-scale photograph-and-text works that confront and challenge narrow, conventional views of gender, identity, culture, history and memory. With the African-American woman as a visual point of departure, Simpson uses the figure to examine the ways in which gender and culture shape the interactions, relationships and experiences of our lives in contemporary multi-racial America. In the mid-1990s, she began creating large multi-panel photographs printed on felt that depict the sites of public – yet unseen – sexual encounters. More recently, she has turned to moving images – in film and video works such as Call Waiting, Simpson presents individuals engaged in intimate and enigmatic yet elliptical conversations that elude easy interpretation but seem to address the mysteries of both identity and desire. Her newest body of work includes drawings based on the characters in a recent video work constructed from found film footage. As a collection, these portraits become studies on the construction of identity achieved through the subtle interplay of lines and accents of color.

Her work has been exhibited at the Museum of Modern Art, New York; the Museum of Contemporary Art, Chicago; the Miami Art Museum; the Walker Art Center, Minneapolis; and the Irish Museum of Modern Art, Dublin. She has participated in such important international exhibitions as the Hugo Boss Prize at the Guggenheim Museum, New York, and Documenta XI in Kassel, Germany. She has been the subject of numerous articles, catalogue essays, and a monograph published by Phaidon Press. Simpson's first mid-career survey was exhibited at the Los Angeles Museum of Contemporary Art, the Miami Museum of Art, the Whitney Museum of American Art, the Kalamazoo Institute of Art, and the Gibbes Museum in South Carolina. Exhibitions are planned for 2008 at Salon94 and at the Internation Center for Photography show titled Archive Fever: Uses of the Document in Contemporary Art, on view January 18th - May 4th.

16 Novembro 2009

Academy of Art University, San Francisco: MFA fashion graduates 2009

MFA graduates from the San Francisco Academy of Art University recently showcased their final collecections at New York's Mercedes-Benz Fashion Week.

This season an edited selection of seven womenswear graduates got the chance to impress fashion industry insiders at New York Fashion Week with their creative graduate collections. With a packed-out front row including Suzy Menkes, Hilary Alexander and Diane von Furstenberg the pressure was on for the soon-to-be graduates.

President of the University, Dr. Elisa Stephens, commented: "These designers have the incredible opportunity of being part of Mercedes-Benz New York Fashion Week. We view this group showing as the University's commitment to help launch the careers of our graduates."

Tapping into her Thai heritage, Sawamya Jomthepmala created origami-esque structured garments replicating the details of Krathong (small boats made from banana leaves). Also taking her cues from Thai religious imagery, Jomthepmala used traditional Buddhist temples as textile inspiration for her abstract repeats.

Jie Pan chose the theme of abstract painting to express her pattern-cutting skills. Working with contrasting fabrics, Pan teamed horsehair with silk chiffon and natural linen with organza. Having already interned at Anna Sui, Pan plans to work as a costume designer for the Hua Yi Performing Group later on this year.

Choosing to look beyond glitz and glitter, Richelle Valenzuela looked at gem-cutting and the many facets of precious stones. Silk and organza complemented Valenzuela's intricate layers and structured pleats. With powerful pattern-cutting remaining a dominant theme throughout his sophisticated collection, an understated palette of gunmetal gray and slate blue demonstrated his mature approach to design.

With an undergraduate degree in graphic design, Amanda Cleary used product packaging as her initial design inspiration. Bonding black silk lurex to calendered cotton twill, Cleary created minimalistic silhouettes which held a modern-day patchwork appeal.

With future plans to launch a career in pattern-making and technical design, Brittney Major flexed her notable technical muscles with a brightly coloured collection of bold plaids. Using 'unconventional preppy' as her inspiration, Major worked mismatched colour plaid over thigh-skimming buttondown dresses and short shorts.

Philanthropist Betty Freeman and painter David Hockney formed the unlikely design inspiration for Kara Sennett's, retro-futuristic collection. Cool colour combinations highlighted precisely cut separates while white panelling showed off Sennett's body-conscious shapes.

Knitwear design graduate Marina Nikolaeva Popska kicked off proceedings with a sumptuously feminine lightweight knit collection. Inspired by nature and the 'chaos' of colour, Popska created softly unstructured silhouettes in an ethereal palette of duck egg blue and plaster pink. Jacquard and intarsia techniques created a marbled and mottled texture, which married well with the delicate colour choice.

Report by
CASSIE FITZPATRICK