paris FRANCE

suckerPUNCH: describe your project.

gwen van den EIJNDE: The performances Wystepy and Maskarada were presented in the fall of 2010 in Warsaw, in the frame of my residency at the Center for Contemporary Art Castle Ujazdowski. I designed a set of new outfits during the residency that were influenced by sarmatism and by polish folklore. The costumes are made to transform the body into a kind of sculpture, and they were realized by combining sometimes surprising materials, such as paper, dead leaves, Christmas decorations, napkins.

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london ENGLAND

suckerPUNCH: describe your project.

daniel WIDRIG: The objects are part of the Escapism Collection that was presented at the Paris Fashion Week earlier this year.

The project is a continuation of the collaboration between London based designer and architect Daniel Widrig and dutch fashion designer Iris van Herpen. Escapism attempts to further investigate possibilities and potentiality of advanced digital design techniques and computer aided manufacturing in the realm of haute couture fashion. Based on the experiences made with earlier pieces such as Crystallization, Escapism pushes the limits of 3D printing in order to produce highly flexible structures. The dresses are made of bundles of fiber-like elements with minimized diameters.

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purmerend NETHERLANDS

suckerPUNCH: describe your project.

anouk WIPPRECHT : Selfpainting dresses, a project called Pseudomorphs (literally means ‘false form’) – I wanted to Anouk design towards systems that can make subtle transformations in order to let a design recreate itself. The neck-piece works with pneumatic control valves and an pressure and control system that allows the ink to be pumped throughout the design and spreads the ink over a series of absorbing dresses in a uncontrolled matter, making the designs to ‘bleed’ the ink that is given to them.

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london ENGLAND

suckerPUNCH: describe your project.

daniel WIDRIG: Crystallization is the first object in a series of digitally generated fashion sculptures resulting from an ongoing collaboration between London based designer Daniel Widrig and Dutch fashion designer Iris van Herpen. The project introduces 3D printing techniques into the realm of haute couture fashion design and tests the potential of complex, digitally generated structures in combination with computer aided manufacturing techniques for fashion design purposes in a broader sense.

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london UK

tim BLANKS: Wasn’t it only yesterday that we were in Princess Margaret’s apartment in Kensington Palace for the Acne show? She was the Rihanna of her day, the good girl gone bad, and clearly she’s struck a chord for Spring 2011, because today christopher KANE was name-checking this royal muse.

“Super-sophisticated,” he called her. His sister Tammy nailed the essence of the latest Kane collection as “Princess Margaret on acid.”

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new york NEW YORK

meenal MISTRY: …it was the dresses—literally breathtaking—all exquisitely wrought this season with orientalist-inspired details: heavily bejeweled necklines, hand-painted florals on rolling sculptural drapes, and grand obilike loops that were revealed when a model turned. Amid the gowns were a few harem-panted jumpsuits. Cut in lace and finished with little bolero jackets and jewel-crusted clutches, they didn’t exactly read casual.

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athens GREECE

suckerPUNCH: describe your project.

pantazis EVANGELOS: Vagio: a venture to integrate two elements that have coexisted for many years, but were rarely considered as one entity, jewelery and garment. Argent welding and cloth sewing were equally combined into design compositions that range from skirts to mantles and scarves to shirts, from casual to formal and from usual to extraordinary. Clothing characteristics which were fixed in form and function were reconsidered and replaced by jewelery elements and vice versa. Most designs have a modular-flexible character that offers more than one way of being worn.The outcomes of this attempt were presented in an exhibition which took place in a photographic studio in the centre of Athens in February 2009. Next exhibition is scheduled on September 2010.

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atlanta GEORGIA

suckerPUNCH: describe your project

amy FLURRY and nikki SALK: Paper-cut-project is an installation design element using expressive cutouts. We introduced these delicate paper cuts as an antidote to mass production, a sort of allegiance to hands-on design at the intersection of art and fashion.
Nikki has long nurtured affection for paper through her own art (see link to her site), and I am a veteran fashion editor and stylist. We make three-dimensional sculptures as styling concepts for fashion shoots, window displays and runway productions.
Our debut installation was Jeffrey New York and Jeffrey Atlanta (simultaneous) in January 2010. Currently, we are working on a commission for Hermès.

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los angeles CALIFORNIA

laird BORRELLI-PERSSON: “it’s like they’re on psychedelics, the way they describe things.” that was sonic youth frontwoman and rodarte fan kim gordon speaking about kate and laura mulleavy before their show today. the seemingly demure sisters from pasadena, california—who studied art history with the eminent scholar t.j. clark, the well-informed gordon noted—have indeed crafted their own baroque dream world (cue the dry ice that created a poison mist over a runway strewn with black grit). it’s an imaginary world that’s ferocious rather than precious, not to mention ferociously influential. and with its relentless gothic overtones, it’s particularly in tune with the moment.

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new york NEW YORK

meenal mistry: there will be lace. and sculpted organza, floaty feathers, beading, and draped tulle. for a few seasons now, queen of the red carpet georgina chapman has refined marchesa’s signatures to a flawlessly executed fine point. that’s not to say that the label remains at a standstill, however. fall was inspired by the performer and courtesan lola montez and her travels and quest for love, chapman said. compared with last season’s occasionally stiff references to madame butterfly, there was a welcome sense of whimsy, with a feeling of girlish romance in shooting-star embroideries as well as in a dress in cotton-candy tulle, its puff shaped only by a length of black grosgrain ribbon.

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