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Hussein Chalayan, Spring/Summer 1995

Barbara Brownie

Source: Fashion Photography Archive 2015

Article

Hussein Chalayan’s spring/summer 1995 collection, entitled “Temporary Interference,” was his second commercial collection. It contributed to establishing Chalayan not only as a fashion designer, but as a philosopher and artist for whom clothes are a medium for provoking questions and symbolizing complex notions about human ambition. With this collection, Chalayan explores man’s ill-fated attempts to elevate himself to the status of the divine. Helium-filled balloons pull full-length slip dresses

Tilda Swinton

Barbara Brownie

Source: Fashion Photography Archive 2015

Article

Scottish actor, model, and muse Tilda Swinton was born in London in 1960. After graduating from Cambridge she began a career acting on stage, and later in film, winning an Academy Award for her performance in Michael Clayton. She has played muse to fashion designers and artists alike, collaborating on a collection for Viktor & Rolf (2003) and starring in a short film by fashion designer Hussein Chalayan (Absent Present, 2005). In recent years she has been the face of campaigns for designers inclu

Islamic Style

Magdalena Crăciun

Source: Fashion Photography Archive 2015

Article

Fashion designers have found inspiration in past and present sartorial repertoires. Islamically appropriate forms of covered dress have aesthetically been drawn upon as well. Consequently, headscarves, face veils and head-to-toe outerwear have occasionally appeared on the catwalk. Fashion commentators have pointed out that such creations and assemblages referenced ethic, traditional, historical, exotic or oriental dress, and only rarely labelled their source of inspiration as Islamic style. The n

Fashion and Surrealism

Victoria Rose Pass

Source: Fashion Photography Archive 2015

Article

Surrealism, as an artistic movement, emerged in Paris in 1924 with the publication of the Surrealist Manifesto by the writer André Breton (1896–1966), but artists and writers had exhibited this sensibility long before. The notion of the uncanny is at the heart of surrealism. At its most basic, the aesthetic of the uncanny celebrates the beauty of combining images which are irreconcilable: the real and the imagined, the live and the dead, the organic and the inorganic. The uncanny is also at the c

Global Influences: Challenging Western Traditions

Bonnie English

Source: Japanese Fashion Designers. The Work and Influence of Issey Miyake, Yohji Yamamoto and Rei Kawakubo 2011

Book chapter

The Maison Margiela teamThe designers that we most admire are ‘those with an authentic approach to their work.’

Hussein Chalayan: Controversial Fashion Designer or Bridge between East and West?

Bradley Quinn

Source: Berg Encyclopedia of World Dress and Fashion. Central and Southwest Asia 2010

Encyclopedia entry

Artist, filmmaker, architect, designer: descriptions like these are often attached to Hussein Chalayan, a fashion designer and self-styled “ideas person” who forges unexpected alliances between garments, environments, imagery, and technology. Chalayan frequently brokers significant connections between fashion and other creative disciplines. As Chalayan builds bridges between the visual, the ideological, the invisible, and the tangible, his designs challenge preconceived notions of what clothing c

Chalayan, Hussein

Bradley Quinn

Source: The Berg Companion to Fashion 2010

Encyclopedia entry

Chalayan was born in the Turkish community of Nicosia on the island of Cyprus in 1970. His parents separated when he was a child. At the age of eight, he joined his father, who had moved to the United Kingdom. Chalayan was sent to a private school in London when he was twelve, but returned to Cyprus to study for his A-level examinations. He went back to London and attended Central Saint Martin’s College at the age of nineteen to study fashion. Chalayan rose to fashion fame soon after he received

Intelligent Textiles: The Future of Fashion

Bradley Quinn

Source: Berg Encyclopedia of World Dress and Fashion. Global Perspectives 2010

Encyclopedia entry

Fashion’s engagement with disciplines such as technology, architecture, industrial design, and biochemistry is creating rapid advancements that radically reinvent its relationship to the body and the built environment. As sustainability becomes increasingly important, new materials and production methods are redefining its relationship to the environment. The first “wearable computer” prototypes of the early 1990s were body-mounted devices such as microphones attached to jackets, waistcoats, and

When Is Creativity?

Ingrid Loschek

Source: When Clothes Become Fashion. Design and Innovation Systems 2009

Book chapter

In the mid 1990s, the psychologist Hans Jürgen Eysenck conjectured that creative achievements might be connected to particularly weak filtering of stimuli in the brain. This filter function in the brain helps a person to select the most relevant from a wealth of impressions, to distinguish between the unimportant and the important. If the filter is especially permeable, it may present a prerequisite to unusual associations—which Eysenck regards as a typical characteristic of creativity. On the ot

One: Fashion and the Built Environment

Bradley Quinn

Source: Techno Fashion 2002

Book chapter

A less cynical response to the demands of the urban environment manifests in the visionary designs of Yeohlee Teng. Based in New York, Yeohlee works in response to the imperfections in the world around her. Her intense analysis of modern life inspires her to experiment with new forms and fabrics to produce clothing that is both practical and beautiful, and at the very cutting edge of fashion.

Two: Twenty-first-century Bodies

Bradley Quinn

Source: Techno Fashion 2002

Book chapter

Fashion, in the hands of Tristan Webber, may be the key to human evolution, because it holds the potential to change and shape the body of the future. Webber’s fascination with medical science fuses fashion with the biological theatre of the body as he uses principles of anatomy to reconfigure traditional cuts of fabrics and the placement of seams. Often referencing muscle groups and skeletal structures, Webber’s work examines the fashioned body with the forensic scrutiny of a medical autopsy.

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