Friday, July 17, 2009
Wearable design
Sunday, June 28, 2009
Furniture Designer - Verner Panton Posted by Julie Davenport
VERNER PANTON (1926-1998) was a master of the fluid, futuristic style of 1960s design which introduced the Pop aesthetic to furniture and interiors. Born in
During the ‘Beat’ years of the mid-1950s, young European artists and writers bought battered old camper vans to travel across the continent. One of the oddest-looking of these vans was the Volkswagen belonging to Verner Panton, a young Danish architect, who had customised it into a mobile studio.
Every few months, Panton set off from
Panton had close links with many of the most important Danish designers of that era. Pøul Henningsen, the lighting designer, had taught him at
Nothing in Verner Panton’s childhood suggested that he might become a designer. Born in 1926 to innkeeper parents in Gantofte, a tiny village on the
Panton Chair, 1968 Design: Verner Panton Manufacturer: Vitra
Wire chairs and Moon Lamp,
1959-1960
Design: Verner Panton
© Marianne Panton
Flying Chairs, 1964
Design: Verner Panton
Manufacturer: Herman Miller/Vitra
© Poul Ib Henriksen
Furniture System, 1973
Design: Verner Panton
Manufacturer: Fritz Hansen
© Marianne Panton
Biography
1926 Born in Gamtofte on the island of
1944 Moves to
1947 Starts an architecture degree at
1950 As an assistant to the architect, Arne Jacobsen, works on the Ant Chair.
1955 Fritz Hansen launches Panton’s first mass-produced pieces of furniture, the Tivoli Chair and Bachelor Chair.
1957 Designs a self-assembly weekend home to be sold as a limited edition.
1958 Opening of Komigen restaurant, designed by Panton for his parents, is an instant hit, as is the Cone Chair he created for it.
1960 Develops first inflatable chair and designs the Astoria Hotel in
1961 Panton’s furniture, textiles and lights published in Mobilia’s "Black Book".
1963 Moves to
1964 Flying Chairs and Shell Lamps create a furore at Cologne Furniture Fair.
1965 Unveils S Chair, first cantilevered moulded plywood chair, for Thonet. Starts work on the Panton Chair with Herman Miller-Vitra launched in 1968.
1969
1970 Designs fantastical Visiona II exhibition for Bayer at Cologne Fair.
1973 Completes work on the interior of Grüner & Jahr’s offices in
1990 Vitra puts the Panton Chair back into production.
1994 IKEA produces Panton’s Vilbert Chair as the Panton revival takes off.
1995 Panton Chair appears on the cover of British Vogue.
1998 Verner Panton dies in
2000 Verner Panton: Light and Colour opens at
© Design Museum
http://www.arcspace.com/architects/Panton/
www.designmuseum.org/design/verner-panton
Tuesday, June 16, 2009
Costume Designer-Edith Head
Edith Head (1897-1981)
www.britannica.com/EBchecked/topic/258059/Edith-Head
en.wikipedia.org/wiki/Edith_Head
www.edithhead.com/
www.edithhead.biz/
Oriel - Chairs by Tom Dixon
Tom Dixon - “S” Chair
"I was immediately hooked on welding...mesmerised by the tiny pool of molten metal, viewed from the safety of darkened goggles. Allowing an instant fusion of one piece of steel to another. It had none of the seriousness of craft and none of the pomposity of design: it was industry.
It suited my impatience perfectly...giving me the opportunity to build, destroy, adjust and remake structures instantly.”
At the time London was full of scrap metal yards, due to the eighties boom, giving a ready availability of material waiting to be transformed.
Tom’s reputation grew and caught the attention of Italian furniture design company, Cappellini, whose support provided the manufacturing capability and vision of Dixon, and several other burgeoning designers.
The "S" chair made Tom Dixon's name, evolving from early prototypes in his Creative Salvage days. It was initially woven with recycled rubber inner tubes, and then covered in rush, a material traditionally used for drop in seats. Cappellini were attracted by its sculptural form and amazing legless structure of bent steel frame. Launched by Cappellini with a vibrant felt upholstered covering in 1989, the "S" chair quickly reached iconic like status and now has a permanent place in the Museum of Modern Art, New York.
http://www.tomdixon.net/history/history_1.html
http://www.designmuseum.org/design/tom-dixon
LuLu : Costume Design
Colleen Atwood
Colleen Atwood (born 1950) is an Academy Award-winning American costume designer.
Colleen has been nominated for an Academy Award numerous times and won Academy Awards for the movies Chicago in 2002 and Memoirs of a Geisha in 2006. Colleen has collaborated several times with directors Tim Burton and Jonathan Demme. Beginning her career as a fashion advisor in Washington State in the early 1970s, Colleen eventually ventured into the world of costume design for theater and film, initially coming to fame through her work on Sting's Bring on the Night World Tour. Colleen Atwood has been involved in some pretty amazing films, and music videos:
Married to the Mob (1988), Edward Scissorhands (1990), The Silence of the Lambs (1991), Ed Wood (1994), Little Women (1994), Mars Attacks! (1996), Gattaca (1997), Beloved (1998), Sleepy Hollow (1999), Planet of the Apes (2001), The Tick (2001-TV series), Chicago (2002), Big Fish (2003), Lemony Snicket's A Series of Unfortunate Events (2004), Memoirs of a Geisha (2005), Mission: Impossible III (2005), My Chemical Romance - Welcome To The Black Parade (Music Video) (2006), My Chemical Romance - Famous Last Words (Music Video) (2006), Sweeney Todd (2007), Public Enemies (2009), "Nine" (2009), "The Rum Diary" (2009)
Colleen has been partially involved in developing or has been the lead designer for producing the costumes on over 50 films to date. Colleen was the lead costume designer for all of the new costumes created for Ringling Bros. and Barnum & Bailey Circus in 2005-2006. She designed the military uniforms for the band My Chemical Romance.
Jacqueline Durran has worked in the costume department of an impressively diverse range of films: from Mike Leigh’s Vera Drake, to Star Wars: Episode II - Attack of the Clones and, Jo Wright adaptation of Jane Austen’s Pride And Prejudice, and most recently Atonement, both starring Keira Knightley. She has gained herself a broad selection of awards for her costume designs.
I came across a website with Jacqueline being interviewed, if you're interested:
How did you become a costume designer?
At the age of 20, after studying philosophy, I realised that costume designing existed as a job! I thought it would be wonderful to work alongside actors and directors in the theatre or on film sets. I found some work in a costume hire house, where I got to know designers who came in to get inspiration for their work. I then became an assistant in the wardrobe departments of the Mike Leigh film, Topsy-Turvy and James Bond, Die Another Day.
What's the design process on a major feature?
It’s different on every feature, but what usually happens is you’re interviewed for the position when the film is still in the planning stage. If you’re given the job, you have a preparation period in which you go away, do your research and begin making clothes. On Pride And Prejudice this period was only nine weeks. During this time, I had an assistant working for me, who’d go out and buy fabrics and materials for me to look at. You always hope that casting will happen as soon as possible, so that you can start taking measurements and making costumes with an actor in mind. The department draws up a ‘costume plot’ – detailing exactly how many different changes of clothes each character will need. You’ll then look at the director’s order of filming, and begin to make the costumes in the order that they will be needed. As well as an assistant, there’ll also be a person who does the fittings and takes care of the physical wardrobe, and, as was the case on Pride And Prejudice, a person who’s job it is to make the clothes look older than they really are!
Various productions of Pride And Prejudice have come and gone over the years. How did you make sure that the costumes in this new version stood out?
The first thing I did was ban myself from watching any previous adaptations. I knew it would be too difficult not to be influenced and I wanted to produce as fresh a look as possible. Secondly, most film versions of the book were set in and around 1815. The director decided that this version would be set in 1796/7, so we were talking about a different era of fashion. I took inspiration from original references – paintings of the period and surviving costumes.
The styles worn by actors in films often influence real life fashion. Could that be the case with Pride And Prejudice?
It will, as it has done on so many previous occasions. In the 1960s, Doctor Zhivago inspired the Russian peasant look. I’ve already been interviewed by an American magazine, whose editor believes that the film will inspire the Empire line. That’s not to say that Pride And Prejudice will start this trend or that it will become a dominant look in mainstream fashion; it may well just tap into an idea that’s already around and be adopted by the fringes. When I’m designing costumes for a film, I’m not in a bubble; I’m influenced by everything around me. The costumes in Pride And Prejudice reflect, to some extent, what’s going on in the world of fashion at the moment, and by the same token, could well influence new looks.
Saturday, June 13, 2009
Susie B Post 5 - Fashion Photographer & Illustrator
Patrick Demarchelier was born near Paris in 1943 to a modest family. For his seventeenth birthday, his stepfather bought him his first Kodak camera. He quickly became a natural behind the camera. Then he learned how to develop film, retouch negatives, began shooting friends and weddings…
Kareem Iliya
"Iliya's work is usually described as being 'ethereal' and 'mystical'. He works with watercolor and ink on paper, often in vibrant colors through which figures and objects seem to burst and radiate."
Kareem Iliya started his fashion career working with Giorgio Armani, and from 1992 also freelanced as an illustrator. His images are hauntingly full of grace and mystery.
Tuesday, June 9, 2009
Post7- Candy/
Birth Details