Designed in Hackney: Costume designs for Carbon Life by Gareth Pugh

Carbon Life costumes by Gareth Pugh

Designed in Hackney: we’re stepping into the fashion world for Designed in Hackney this week, showcasing fashion designers who are based in the borough every day. We start with Gareth Pugh‘s sculptural designs for new ballet Carbon Life, which had its premier at the Royal Opera House last month.

Carbon Life costumes by Gareth Pugh

With choreography by Wayne McGregor and music by producer Mark Ronson, the ballet is a modern fusion of pop, dance and fashion, with Pugh’s graphic designs distorting the body into architectural forms.

Carbon Life costumes by Gareth Pugh

Known for his dark and theatrical creations, Pugh found success through east-London design initiative Fashion East not long after graduating from Central Saint Martins in 2003. He now has a studio in Dalston.

Photography is by Bill Cooper, courtesy of ROH.

See our other stories about Gareth Pugh on Dezeen »


Designed in Hackney map:

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Key:

Blue = designers
Red = architects
Yellow = brands

See a larger version of this map

Designed in Hackney is a Dezeen initiative to showcase world-class architecture and design created in the borough, which is one of the five host boroughs for the London 2012 Olympic Games as well as being home to Dezeen’s offices. We’ll publish buildings, interiors and objects that have been designed in Hackney each day until the games this summer.

More information and details of how to get involved can be found at www.designedinhackney.com.

Lost in Motion

Lost in Motion est la nouvelle vidéo proposée pour “National Ballet of Canada” par Krystal Levy Pictures. Réalisée par Ben Shirinian, cette création permet de mettre en avant la chorégraphie et la performance du danseur Guillaume Côté. Une vidéo à découvrir dans la suite.



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Nikon – Set Your Pictures Free

Emil Kahr a pu réaliser en collaboration avec Yusuke Sato cette publicité pour la marque Nikon. Pensée autour de la stagnation d’une photographie et de ce qu’un artiste aimerait disposer pour capter un moment telle qu’une chorégraphie, cette création vidéo est à découvrir dans la suite.



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OK Go – Skyscrapers

Afin d’illustrer le morceau “Skyscrapers” du groupe OK Go, la réalisatrice Trish Sie a eu la belle idée de se mettre en scène avec Moti Buchboot dans divers environnements en train de danser. Très léger, coloré et poétique, ce clip est à découvrir dans la suite de l’article en vidéo.



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Hel Yes! Stockholm

Cuisine meets design in a Finnish concept restaurant during Stockholm Design Week
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On 7th February Stockholm welcomes design lovers as the annual Stockholm Design Week kicks off again. Timed to run alongside the Furniture & Light Fair, Finnish concept restaurant Hel Yes! will set up a special space on Skeppsholmen Island in the center of Stockholm.

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Hel Yes! first entered the design fray during the 2010 London Design Week, hailed as one of the highlights of the festival itself as it tied together the disciplines of food and design with a sophisticated site-specific installation.

With Helsinki having been named Design Capital of the World in 2011, Hel Yes! gets another chance to shine as creative founders, restauranter Antto Melasniemi, artist Klaus Haapaniemi and designer Mia Wallenius bring their diverse skills to the new location.

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London’s Hel Yes! was focused mainly on food and design, but Stockholm’s concept looks more toward the social aspects of gathering to eat, played out against neo-paganistic iconography devised by Haapaniemi, whose graphic forms of fauna and far-off galaxies will fill the 100-square-meter space. “Everybody on the team is interested in mysticism and Finnish pagan aesthetics,” explains Wallenius. “The textiles create a vast architectonic element and are part of creating a unique cosmos.”

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In the months leading up to the opening, the founders worked with Finnish choreographer Kenneth Kvarnström and his dancers at Helsinki Dance Company to incorporate key elements of interaction and movement to the latest iteration of Hel Yes! More than just dance, the heightened sensory experience builds sections of choreography into the cooking and preparation of the food. “There’s no distinction between the dancers and the waiters. We’re trying to create a logical entirety with the audience being a part of it—more of an event than a performance,” explains Melasniemi. According to the chef, it’s about more than just food. “I’m not so much of a technician but have found myself getting more and more into the whole experience and concept of the dining ritual,” he says, explaining that when he eats out, he spends more time looking at the movement of the waiters, the sommelier’s delivery or the angles of tables and chairs.

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As with the last Hel Yes! close attention to detail guides every aspect of the experience, from the special waitstaff uniform to the beer and vodka selection. Even the tablewear is drawn together from swap meets, in which residents from the Mylittala community are asked to hand over their old pieces from legendary Finnish brand Iittala and share the memories attached to each piece, in exhange for a free dinner. More advanced choreography fills the venue throughout the evening, including the introduction of an orchestra with a section of instruments crafted from whale bone. As for the food itself it’s likely to be a true showcase of Finnish cuisine and ingredients by chef whose vision goes beyond the food itself and transcends into a spectacularly memorable dining experience.

Hel Yes!

7-11 February 2012

Eric Ericsonhallen, Kyrkslingan 2

111 49 Stockholm, SE


Flash On The Beach 2011

Un très beau travail sur la séquence des titles de la conférence Flash On The Beach édition 2011. Un concept de grille de lumière LED comme source de lumière réagissant avec la musique et la chorégraphie de danse moderne. Une production de Black Swan et Gmunk à découvrir en images.



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Ok Go – All Is Not Lost

Le groupe OK Go a travaillé avec la réalisatrice Trish Sie, la compagnie de danse moderne Pilobolus et les équipes de Google pour créer leur nouveau clip et la dernière expérimentation interactive en HTML5. Une danse kaleïdoscopique et chorégraphiée sur le titre “All Is Not Lost”.



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Why Patterns

Ping-pong balls and dance in the U.S. debut of a visually arresting performance
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On a black stage a singular ping-pong ball triggers four dancers, followed by thousands more balls dropping, rolling and flooding the scene in controlled chaos. This is “Why Patterns.” Making its U.S. debut next week, the performance piece is a collaboration between choreographer Jonah Bokaer and Snarkitecture, a creative studio founded by artist Daniel Arsham and architect Alex Mustonen.

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First commissioned by Dance Works Rotterdam, the show draws inspiration from the musical composition by Morton Feldman of the same name. The creative partnership formed after Arsham met Bokaer while stage designing for the late choreographer Merce Cunningham. “We had many interests in common,” says Arsham. “In the case of ‘Why Patterns,’ I proposed the possibility of what we could do with one ball, and with 5,000 balls.” Costumes were redesigned by menswear’s Richard Chai.

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With Arsham’s years of experience in stage design, the performance is a logical transition for Snarkitecture’s practice, but with the challenge of creating a lightweight set portable enough for touring. “Working within this, we created something that had a strong visual impact and some very unexpected moments that respond to the movement of the dancers,” says Mustonen.

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“Why Patterns” runs from 3-7 August 2011 at the Jacob Pillow Dance Festival in Becket, Massachusetts. Tickets are $23.50-$37.50, with special pricing on Friday. Visit Jacob Pillow Dance online to purchase and for more information.

Photos by Snarkitecture


Sumo Lake

Rétablissant et détournant avec ingéniosité l’histoire du Lac des Cygnes, Greg Holfeld a réalisé cette animation avec des outils traditionnels. Replaçant des sumos à la place des oiseaux majestueux, cette vidéo originale est à découvrir dans la suite de l’article.



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Histoire du Soldat

Checking in with the creative forces behind a bold multimedia production of Stravinsky’s post-WWI theater piece
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Meant to be “played, danced and read,” one of Igor Stravinsky’s most ambitious pieces, “Histoire du Soldat”—penned in the frenzy of post-World War I reconstruction—delves into themes of chaos and absurdity. Tackling the powerful message and Stravinsky’s dissonant, pastiched style, director and choreographer Yara Travieso and illustrator Ryan Hartley recently adapted the difficult work for a multimedia spectacle opening tomorrow at NYC’s Lincoln Center.

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To visually bring one of Stravinsky’s most complicated pieces to life more than a half-century after its inception required an intensive process. Hartley started sitting in on rehearsals early on to reverse-engineer around the motion of the bodies onstage. From there he pulled iconography from period source material and beyond. “As you watch,” Hartley explains, “there is a progression of influences in the images from Stalinist Russia to Nazi Propaganda to wartime American propaganda that passes into today’s war posters.”

The resulting cunning videos form a densely-layered set-piece as compelling as the story playing out in the foreground (performed by dancer Esme Boyce and actor Brendan Spieth). This seamless mix of elements stems from Travieso’s careful balance of theatricality and dance. “Multimedia is becoming a visual palette for a lot of audiences that are just used to dance or theatre.” she stated, emphasizing, “It is becoming something they are starting to understanding as the next level.”

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Of course as much as trends in media influenced the director, as the Faustian tale (a Russian soldier makes a deal with the devil) unravels, the melodies’ surrealist proportions drive the production. “The music itself is a mash-up of different influences. From Tango to Russian Folk music, the meter is constantly changing,” says Travieso. Where some directors might feel stymied by the challenge, Travieso embraced it as a way to explore the multimedia aspects of the performance. Using disparate elements and technologies to create layers of information, Travieso’s staging of “Soldat” fully integrates attempt at realizing what can be possible when the digital and spacial world’s interact between each other and in front of an audience.

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Showing as part of this year’s Beyond The Machine Festival, hosted by the Juilliard School and featuring electronic and interactive music programs, opens tomorrow 24 March 2011, runs through 27 March 2011 at the Meredith Wilson Theater, and is free to the public.