In The Spirit of American Naturalism: Winslow Homer
The Water Fan, 1898
Sailing The Catboat, 1875
Feeling the difference in the chill of the water from the paintings from the north, and the warmth of the paintings from the tropics, and the darkness of the sea after a storm.
It is like different shades of gray, that react to the colors around it in a way that transforms it. Warm or cool gray, heather or matte...
John James Audubon
the book Birds of North America is one of his life's achievements. And throughout his ornithological career documenting known and unknown species, he aimed to capture them in their natural environments. I love depictions of animals whose purpose is to serve science just as much as they are artistic contributions. What I love about JJ Audubon's is the attitude he injects into the subjects. More like characters personified than wild animals. Also the dreamy water color landscape backdrops.
white headed eagle from Birds of America by John James Audubon London: 1827-38
it's about
animals,
art,
inspiration,
naturalists,
nature
Hussein Chalayan in Paris
This really fantastic exhibit was all about technology and exploiting the possible overlaps within Chalayan's vision of fashion. A brilliant designer who could have chosen any medium, he often incorporates those diverse design sensibilities in his runway instillations and video presentations. Also in his garments, as they super conceptual extreme is sculptural and not at all conventional clothing. What makes it distinctly about fashion is the role that the body and identity play in his creative commentary. By using the body as a foundation for his creations, there is an implied set of ideas that are connect to the idea of the body and the self. But in the context of his very thoughtful concepts he is able to send a different message each season. Part of that is thanks to the experimentation with new materials and processes which are often of a scientific or technologocal nature. Even his more rustic, raw, hand-made references come together in the form of some kind of modern hybrid, and never exist solely on ideas of the past.
this image is from my favorite Chalayan collection (one I cited in my first project design at SCAD) and the image if from the museum's website
Here is my coverage for TheFashionList
this image is from my favorite Chalayan collection (one I cited in my first project design at SCAD) and the image if from the museum's website
Here is my coverage for TheFashionList
it's about
article,
exhibit,
fashion,
paris,
TheFashionList
Tim Walker
Fantastical worlds captured in one frame- so believable your mind sees beyond the picture plane...real people transformed into fictional characters with supernatural qualities and eccentric mannerisms- they must actually exist in their strange world...colors that seem to be pulled out from the ground where he wishes them to be- like his camera interprets the visions of his mind's eye
Here are some recent editorial shots to demonstrate that introduction...

Take a look at his website there's much more to see
+ he works in collage sometimes as well- which I love because it is like he continues building onto these fabricated worlds with elements of our own world that still somehow enhance the fantasy.
it's about
fashion,
inspiration,
photography
Old Research
I was recently going through some old research files. Every once in a while a folder goes unorganized for quite a while. As in these cases, I don't really remember any more where I got the images or what I was looking for when I found them. Here are some that I held on to because I find they still have some kind of relevance...
Robert Frank
Edward Curtis
The Angel of Mons Valse Score Cover by Paul Paree, 1914
Golden Eagle Wing by Niall Benvie circa 1990
From Numéro 82 by Camilla Akrans
an editorial page that I got from the much missed website (HFGL)
Pati Smith by Lynn Goldsmith 1977 via corbisunknown
Alexander McQueen: Savage Beauty
I am sadly going to miss this exhibit. Part of the surrounding enticement is due to the too-early death of the designer, making the garments on display like relics of his life.
Because I can't be there, I was so thrilled to find that the MET had put together this site with images, videos, a guide through each themed room, and beautiful photographs.
The best thing short of going myself. It is rare to find so much information shared surrounding an exhibit, ("you have to visit if you want to see...!") But in this case the digital element makes a really great complement (I imagine) to the actual visit. It is, however, clear from the videos and images that the richness of the spaces and textures and garments themselves just aren't done justice via digital reproductions.
But about the exhibit: I have admired Alexander McQueen (a fellow Lee) for seemingly forever. But I was never in the McQueen fan club. I also took his collections for granted. I don't think I really ever looked at his collections in the big picture sense. I saw the spectacle and appreciated his theatrics- saying that he was doing things differently. An industry that has so many codes of conduct and 'how tos' needs people who break some of those rules- boldly; no toe-dipping in the water.
The themes of nature, the future, his heritage, mysticism, goth, and current social climates are manifest in his collections. The literal interpretations might be considered costume-y if it weren't for the refined color palette, and masterful and tasteful couture approach. His design hand is was so refined; maybe as result of the time he spent learning the skills of tailoring on Saville Row.
Lastly, I have only recently awakened in myself an interest in and love for the idea of the future. While I have lived most of my life lamenting the past, dreaming of living in an America of pre-western expansion: "Oh give me a home, where the buffalo roam" kind of nostalgia. This has revealed itself as a limiting mindset, where little can be expanded upon without getting into modern territory. And those same sources of inspiration I have seen exploding as trends all up and down the apparel market. Which puts into question every sense of identity and purpose. It is an emotional thing, creating.
And that is exactly what McQueen used to his advantage. For people who can't escape the power of strong emotions- emotions that can sometimes feel debilitating- to be able to channel them, and fabricate them, is one way of learning to control them- or at least make them work for you.
And so I'll live vicariously through everyone who gets to go see and visit the exhibit this closing weekend or who has visited it over the past months.
enjoy and appreciate
And for those of you like me who can't visit: here is a preview of the beautiful images the website shares
Because I can't be there, I was so thrilled to find that the MET had put together this site with images, videos, a guide through each themed room, and beautiful photographs.
The best thing short of going myself. It is rare to find so much information shared surrounding an exhibit, ("you have to visit if you want to see...!") But in this case the digital element makes a really great complement (I imagine) to the actual visit. It is, however, clear from the videos and images that the richness of the spaces and textures and garments themselves just aren't done justice via digital reproductions.
But about the exhibit: I have admired Alexander McQueen (a fellow Lee) for seemingly forever. But I was never in the McQueen fan club. I also took his collections for granted. I don't think I really ever looked at his collections in the big picture sense. I saw the spectacle and appreciated his theatrics- saying that he was doing things differently. An industry that has so many codes of conduct and 'how tos' needs people who break some of those rules- boldly; no toe-dipping in the water.
The themes of nature, the future, his heritage, mysticism, goth, and current social climates are manifest in his collections. The literal interpretations might be considered costume-y if it weren't for the refined color palette, and masterful and tasteful couture approach. His design hand is was so refined; maybe as result of the time he spent learning the skills of tailoring on Saville Row.
Lastly, I have only recently awakened in myself an interest in and love for the idea of the future. While I have lived most of my life lamenting the past, dreaming of living in an America of pre-western expansion: "Oh give me a home, where the buffalo roam" kind of nostalgia. This has revealed itself as a limiting mindset, where little can be expanded upon without getting into modern territory. And those same sources of inspiration I have seen exploding as trends all up and down the apparel market. Which puts into question every sense of identity and purpose. It is an emotional thing, creating.
And that is exactly what McQueen used to his advantage. For people who can't escape the power of strong emotions- emotions that can sometimes feel debilitating- to be able to channel them, and fabricate them, is one way of learning to control them- or at least make them work for you.
And so I'll live vicariously through everyone who gets to go see and visit the exhibit this closing weekend or who has visited it over the past months.
enjoy and appreciate
And for those of you like me who can't visit: here is a preview of the beautiful images the website shares
it's about
Alexander McQueen,
exhibit,
fashion,
New York
Fashion as Sculpture? The Body as a Blank Canvas?
One of the coolest things about creating garments, making it unique in design fields, is the fundamental necessity that it relate to the body underneath. No matter who the designer is, what their origins may be, or what material they are using, the starting point and most basic end goal remain the same. This provides a common point of reference that for most other design disciplines rests solely on purpose, but does not put constraints on the structural elements. (Think architects who make structures in which people will live or work, or designers who create vehicles with motors and wheels)
The body is often referred to as a blank canvas, and the dress as a sculpture. But both are inaccurate, or insufficient, as analogies. The first is two dimensional, and the second ignores the all important form around which the 'sculpture' must conform. It is more the body as a bare foundation, and the garment as a form of sculpture that is molded and modeled and draped and tailored in direct relation to this unchanging starting point (that has mass, two arms, two legs, and a head).
Materials are limitless, as long as they can be manipulated relative to the form of the body. Soft, Hard, Sheer, Opaque, Woven, Melded, Synthetic, Organic...
Image via sewreview.com
The body is often referred to as a blank canvas, and the dress as a sculpture. But both are inaccurate, or insufficient, as analogies. The first is two dimensional, and the second ignores the all important form around which the 'sculpture' must conform. It is more the body as a bare foundation, and the garment as a form of sculpture that is molded and modeled and draped and tailored in direct relation to this unchanging starting point (that has mass, two arms, two legs, and a head).
Materials are limitless, as long as they can be manipulated relative to the form of the body. Soft, Hard, Sheer, Opaque, Woven, Melded, Synthetic, Organic...
Image via sewreview.com
Self Portrait Updated
Here is an updated version since this morning, that's all for today- It will sit for a while and I'll pick it up again when I have an idea about what is next. Maybe there is too much ambiguity. But honestly, a lot of that comes from the fact that I only have two paintbrushes, one .75" wide and the other about 1.25" wide. I wonder what would happen if I started back in with a more precise tool (for right now that is my sharpie). I like the speed of painting with thick brushes, and I like the texture they can create- but it is true that I could get into some really interesting depth and detail with a little experimentation using a smaller brush. Hmmm...
it's about
painting,
self portrait
Self Portrait in Progress
Trying to look away I guess- there is supposed to be a kind of tension pulling up from the corner that I haven't really achieved- as if pulling back into the painting- trying to figure out what ground would help with that effect, as well. Something that pops to the foreground, and leaves the forehead seemingly further into the picture plane. I am going back in with Sharpie once the paint dries, because I find that the graphic element helps me re-frame and re-position my next moves. I have thus far totally ignored the body position as well, and that could be a cool way to play with the depth- especially messing with the immediate foreground starting from the bottom right.
it's about
painting,
self portrait
Haute Couture Coverage
Un Moment Avec Lee on TheFashionList
Elie Saab
Julien Fournié
Alexandre Vauthier
Stéphane Rolland
Jantaminiau
Christophe Josse
Adeline André
I have recently started writing as the Parisian correspondent for TheFashionList, a New York based industry website for agendas and happenings.
I'll put a link to the articles as they come, weekly.
Upcoming:
Knitwear in Antwerp MOMU
Hussein Chalayan Musée Des Arts Décoratifs
Elie Saab
Julien Fournié
Alexandre Vauthier
Stéphane Rolland
Jantaminiau
Christophe Josse
Adeline André
I have recently started writing as the Parisian correspondent for TheFashionList, a New York based industry website for agendas and happenings.
I'll put a link to the articles as they come, weekly.
Upcoming:
Knitwear in Antwerp MOMU
Hussein Chalayan Musée Des Arts Décoratifs
it's about
article,
haute couture,
TheFashionList,
Un Moment Avec Lee
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