Hasta La Ideas

New York fashion designer Aina Beck experimented with foil printing to create the dappled metallic patterns in her latest capsule collection.

“It’s been a long journey experimenting with textile foiling and screen printing to get it to this stage of accuracy and being able to develop the sharp, sleek, minimalistic look I was aiming for,” Beck told Dezeen.

The foil-printing process leaves a disintegrating effect on translucent fabrics such as silk, while screen printing onto denser materials like denim creates blotchy, faded patterns.

The collection includes a metallic body suit made from foil wrapped around the torso and each limb, finished in a flourish over one shoulder.

A train of crumpled blue foil cascades out from the back of a half white, half silver skirt, and a foil-printed dress in the same colour is structured to create a triangular silhouette.

Sheer button-down shirts are detailed with opaque seams and hems formed by layering the fabric.

“I wanted to make a small capsule collection that focussed on the details and processes behind the textiles, as well as wearability,” she said.

A graduate from Parsons The New School for Design in New York, Norwegian-born Beck chose to use blue, silver, grey and white as they are colours she usually wears, and handmade each garment herself.

Designs from other Autumn Winter 2013 collections we’ve featured include pleated blue garments by Jaimee McKenna and outfits tied up with knotted lengths of rope by Eilish Macintosh.

Photography by Dominik Tarabanski.

See more Autumn Winter 2013 collections »
See all our stories about fashion »

The post Autumn Winter 2013 capsule collection
by Aina Beck appeared first on Dezeen.

Haute couture garments by Dutch fashion designer Iris van Herpen will be displayed at an exhibition of her work in Calais, France, from June.

Considered a pioneer of 3D printing in the fashion industry, Van Herpen utilises both new technologies and hand crafting techniques to create intricate sculptural designs.

A 3D-printed piece modelled on the transformation of liquid into crystal (above) and a voluminous handmade dress that references billowing smoke (top) are among the items to be shown.

Thirty pieces designed since she began her own label in 2008 will be exhibited in total, along with photographs and footage from her catwalk shows.

The Iris van Herpen exhibition will be open from 15 June to 31 December at the International Centre for Lace and Fashion in Calais.

A design from Van Herpen’s Crystallize collection features on the front cover of our one-off 3D printing magazine Print Shift. We also interviewed her for a feature in the magazine.

She recently created a dress modelled on splashing water during a live week-long web broadcast. Photography is by Bart Oomes.

See more designs by Iris van Herpen »
See more stories about architecture and design exhibitions »
See more stories about fashion »

Read on for further details from the museum:

The International Centre for Lace and Fashion of Calais consecrates a new exhibition to Iris van Herpen. At 29, this young Dutch fashion designer has largely impressed the fashion world with her futuristic sculptural costumes. Through the presentation of thirty pieces created between 2008 and 2012, the International Centre for Lace and Fashion invites the spectator to plunge into the avant-garde universe of this prodigious creator!

Iris van Herpen

Iris van Herpen is a young Dutch designer (born Wamel, 1984) who has made a considerable impact in the world of Haute-Couture in recent years. Following in the footsteps of Martin Margiela, Hussein Chalayan and Rei Kawakubo, her innovative, sculptural dresses represent a major contribution to the conceptual end of high fashion, deconstructing and examining the creative process and the relationship between clothes and the human form.

After training at the ArtEZ Institute of the Arts in Arnhem (Netherlands) and a passage with Alexander McQueen, Iris van Herpen set out to develop and explore her unique combination of traditional craftsmanship and technological innovation. Invited by the prestigious Chambre Syndicale de la Haute-Couture to show her first Parisian collection in July 2011, Iris van Herpen creates clothes of subtle, poetic, unsettling beauty. Their sculptural forms, enriched by the play of light, place them somewhere between Haute-Couture and contemporary art. And yet the designer does seem intent on creating designs which can be worn by everyone, capturing and reflecting the wearer’s personality and aspirations: she launched her first ready-to-wear line in March 2013.

Exhibition Layout

The International Centre for Lace and Fashion of Calais highlights the recent collections of Iris van Herpen through the presentation of thirty dresses and numerous photographs. The exhibition gallery is a large, minimalist plateau some seven metres tall and sixty metres in length, a majestic backdrop against which to appreciate the creations of this celebrated Dutch fashion designer, unique pieces which blur the boundaries between art, design and fashion. The gallery’s light walls and polished concrete floor will be plunged into twilight, with lights carefully placed to ensure that all eyes are drawn to the dresses on display.

These creations are arranged by date and by collection, displayed on stands so that they can be seen from all angles. These original Iris van Herpen dresses are placed in confrontation and conversation with the photographs displayed immediately opposite them. Visitors can also see the dresses in motion, with footage of van Herpen’s catwalk shows projected on the big screen in the auditorium.

The radically original forms and materials used in Iris van Herpen’s works qualify them as “wearable sculptures”. The pieces displayed here demonstrate her ability to craft complex designs which draw on a wide variety of techniques, with interweaving elements, intricate lacing and fluting. Certain parts of the body, notably the shoulders and hips, are accentuated with voluminous extensions. Some materials make recurring appearances: leather in various forms and styles, acrylics subjected to various manipulations, metal chains and plastic straps. The colour palette is deliberately muted, offset with occasional metallic effects and flashes of iridescence.

The post Iris van Herpen exhibition at the International
Centre for Lace and Fashion appeared first on Dezeen.

Fetishistic suits of armour, orthopaedic braces and wearable tusks all feature in an exhibition of prosthetics at the SHOWcabinet space in London (+ movie).

Curated by Niamh White, associate director of fashion film website SHOWstudio, the exhibition opened on Thursday and contains pieces intended to enhance, protect or deform the body.

The name of the showcase derives from the Ancient Greek word “prosthesis”, which means “to add”, but the collection also incorporates the modern understanding of prosthetics as replacement limbs.

Above: Fragmented Figure by Úna Burke

Designer Úna Burke created original pieces for the show made from leather straps joined with rivets, which encase limbs like a suit of armour.

Above: RE.TREAT #4 by Úna Burke

A black leather outfit is made up of one piece that covers the neck, arms and shoulders, and another that fits over the legs up to the waist, leaving the chest and abdomen exposed.

Above: RE.TREAT #8 by Úna Burke

Similar tan coloured pieces include a bodice extended over the shoulders and up the neck, fingerless gauntlets and a restraining device that forces the arms into a submissive position by encasing them together in front of the body.

Above: RE.TREAT #6 by Úna Burke

Burke and SHOWstudio collaborated on a film titled Bound, in which the black attire is warped as if a wearer is moving in it – watch a teaser at the top of this page or the full movie here.

Above: Infundibulum White Brace by Kat Marks

Other items in the collection include legs worn by American athlete Aimee Mullins at the London 2012 Paralympics opening ceremony, adorned with golden wings that flow up each shin.

Above: Infundibulum Black Brace by Kat Marks

Following her experience of wearing a back brace as a teenager, designer Kat Marks created three vacuum-formed thermo-plastic braces in 2009.

Above: Crown of Thorns with Mirror by Patrick Ian Hartley

A headdress formed from pipette-shaped glass tubes that fan out from a metal head brace complete with screws is by designer Patrick Ian Hartley, as are a range of restored artificial hip joints.

Above: Animal – The Other Side of Evolution #4 by Ana Rajcevic

Horns and tusks from London College of Fashion graduate Ana Rajcevic‘s Animal: The Other Side of Evolution series are also on display.

Above: Animal – The Other Side of Evolution #3 by Ana Rajcevic

The SHOWcabinet gallery space and shop are situated in Belgravia, west London, and host new exhibitions every couple of months. The Prosthetics exhibition is on display until 31 May.

Above: Splint #1 by Patrick Ian Hartley

SHOWstudio recently streamed a live project during which photographer Nick Knight captured water thrown at model Daphne Guinness. His images were used by Dutch fashion designer Iris van Herpen to create a dress – more information in our previous story.

Above: Splint #2 by Patrick Ian Hartley

See all our stories about fashion »
See more architecture and design exhibitions »

The information below is from SHOWstudio:

The term ‘prosthetic’ is now attributed to the branch of surgery dedicated to replacing missing or defective limbs, but to the Ancient Greeks it was an altogether more assertive concept meaning ‘to add’, ‘to advance’ or ‘to give power to’. For April’s SHOWcabinet, our re-imagined gallery space, we embrace this original meaning and display a range of artefacts that engage directly with prosthetics’ ability to adorn, equip and enhance.

Above: Splint #3 by Patrick Ian Hartley

Una Burke’s leather sculptures create the foundation for the installation. Her inanimate bodies engage the language of the physical gesture. Each limb is constructed from countless, beautifully bound leather straps and resemble orthopedic braces or suits of armour. While offering protection or support, they also suggest that the encased body is a fragile system. This constant interplay between empowerment and restriction creates a fetishistic dialectic between invisibility and visibility, as well as denial and disclosure. Burke will also release an exclusive film directed by SHOWstudio’s Head of Fashion Film Marie Schuller to coincide with the launch of the cabinet. The film sees her ordinarily motionless figure brought surreally and subtly to life.

Above: Chimere by Yiqing Yin

Alongside Burke’s work sit a variety of objects and artefacts which explore ideas surrounding prosthetics. Created during a dynamic collaboration between Aimee Mullins, Betony Vernon and Dorset Orthopeadics, the prosthetic legs that Mullins wore as a Chef de Mission for the Paralympic Opening Ceremony will be on view in the cabinet. With the legacy of last summer’s Olympic games still fresh, the imagery on Mullins’ sculptural legs is powerful. A full set of wings run the length of each shin – a reminder of Icarus, and a nod to intrepid innovation. Mullins herself competed in the Atlanta Paralympic Games in 2006 sporting a pair of the then newly developed cheetah style prosthetics and has painstakingly spent her career giving a more positive and empowered face to disability.

Above: Brand New Smile by Kyle Hopkins

Also featured in the cabinet is Kat Marks’ artefact collection ‘The Braces’. Inspired by her own experience of having to wear a Boston Back Brace to redirect the curvature of her spine in her adolescence, Marks has created 3 vacuum-formed thermo-plastic braces in various colours and styles. Remaining true to the original function of the brace, these stylised pieces hold the waist in tight and accentuate the hips, exaggerating a shape which echoes an hour glass figure. No longer does the brace read as medical accoutrement but rather speaks to fashionable ideals of beauty and sexuality.

Alongside these powerful anchors, we present an array of items from innovators in fashion and art who embrace augmentation and aesthetics in tackling the idea of bodily enhancement and extension. Medical anomalies and instruments were often housed in early nineteenth century curiosity cabinets, but we’ve chosen to include artwork by Una Burke, Aimee Mullins, Betony Vernon, Kat Marks, Patrick Ian Hartley, Dai Rees, Kyle Hopkins, Ana Rajcevic, Naomi Filmer, Tara Dougans and Yiqing Yin as a means to probe the potential in prosthetics.

The display will be accompanied by a series of events and discussion geared towards exploring the creative industries’ capabilities to expand perceptions of prosthetics.

The post Prosthetics exhibition
at SHOWcabinet appeared first on Dezeen.

Voici la nouvelle version de la Lamborghini intitulée Aventador, LP720-4 50 Anniversario Edition qui sera présentée au Shanghai Motor Show. Alliant beauté et performances, ce modèle imaginé pour célébrer les 50 ans du constructeur italien sera limitée à 100 exemplaires. Plus d’images dans la suite de l’article

Sagmeister & Walsh’s “Now is Better” project, seen here installed at the Jewish Museum, will be included in the 51st D&AD Annual and is up for a Yellow Pencil. (Photo: David Heald)

• On Monday a 192-member jury of leading creatives and designers began the business of judging the 51st D&AD Awards. As you await today’s installment of nominations and “in-books” in categories such as branding, graphic design, and art direction, page through the first five decades of excellence in visual thinking with D&AD 50, new from Taschen.

• The Tribeca Film Festival organizers recently announced its first six-second film competition, challenging amateur and pro filmmakers alike to make cinemagic with the bold, new, yet Super 8ish medium of Vine. The festival’s director of programming has narrowed down the approximately 400 entries to this shortlist. A jury consisting of director Penny Marshall, Vine-loving actor Adam Goldberg, and the team from 5 Second Films will have the final say on the winners, which will be announced next Friday.

• Transform the leather jacket languishing in the back of your closet into something that doesn’t scream “Wilsons Leather circa 1998″ with Remade USA, designer Shannon South‘s freshly relaunched custom service that repurposes individual vintage leather jackets into new one-of-a-kind handbags, through redesign and reconstruction.

• And speaking of textile innovation, on May 1, New York’s Eyebeam presents “Smart Textiles: Fashion That Responds,” a panel that will bring together a diverse group of designers and scientists working in cutting-edge textile research and production–think nanoparticles, circuit boards, and clothing that’s more responsive to changing needs and conditions.

New Career Opportunities Daily: The best jobs in media.