Atmos

Digitally sensuous architecture in two of Alex Haw’s residential staircase projects

atmos3.jpg atmos4.jpg

Architect Alex Haw of Atmos may not be the first to use digital tools to craft seductively curving forms, but his recent staircase installations in two London abodes might be the most transformative. Each plays off each owner’s interests to create organic asymmetrical forms that lend sensual drama to the spaces.

For a gardener’s house Haw came up with a series of growing sculptural spaces that move seamlessly from exterior to interior, like the serpentine branches of a tree. Delicate branches flow throughout the house in an beautiful arts-and-craft style, albeit using modern technology to realize these complex forms.

atmos1.jpg atmos2.jpg

Describing the ornate process, Haw explains “The stair was entirely digitally fabricated using an intricate set of simply-cut but highly-detailed flat-pack elements, CNC-carving sheets of MDF and oak directly from our drawings.” To make “elements that perfectly slot together like an architectural jigsaw,” he and his team engraved “depths to further split structural strands into ever-finer lineaments.”

The architect calls the structure a “sensualscape,” citing the client’s lifestyle and passion for plants as direct inspiration. “Our use of the garden as prime architectural generator tries to capture our clients’ brilliant energy and to formulate this essence into built form and lived space, weaving a seamless landscape around the passage of light and the movement of its inhabitants.”

atmos7.jpg atmos8.jpg

Making a spectacular case for the staircase as an opportunity for playful architectural and sculptural form, the structure at the Woven Nest apartment in North London brings beautifully simple contours to the home. The owners—an actress and musician—clearly embraced the expressive and sinuous Atmos style, at once decorative and minimalist, while always full of movement.

atmos6.jpg

Haw, a lover of florid prose as much as spaces, describes the central open stairs as having, “timber strands growing upwards towards the light, and unleashing delicate tendrils to frame each step—a single thin metallic line dancing across their lines to offer the lightest of additional support to the hands that seek it.”

atmos5.jpg

Atmos’ work, pulsing with life, pushes this exciting new architecture, drawing as much from structural exploration and the use of technology as from close human relationships and behaviors.


One Hyde Park by Rogers Stirk Harbour + Partners

One Hyde Park by Rogers Stirk Harbour and Partners

Here are some photos of the recently-completed One Hyde Park residential development in London by Rogers Stirk Harbour + Partners, which boasts the most expensive apartments in the world.

One Hyde Park by Rogers Stirk Harbour and Partners

Opened in January this year, the project comprises four linked towers of differing heights.One Hyde Park by Rogers Stirk Harbour and Partners

Floor plans are wider in the middle and taper towards the ends in order to maximise views out over the city.

One Hyde Park by Rogers Stirk Harbour and Partners

Circulation routes connecting the buildings are located between the blocks.

One Hyde Park by Rogers Stirk Harbour and Partners

The development consists of 86 apartments with the top level of each block housing a two-storey penthouse suite.

One Hyde Park by Rogers Stirk Harbour and Partners

A reception, business centres, leisure facilites and retail units are also included.

One Hyde Park by Rogers Stirk Harbour and Partners

The towers face Knightsbridge on one side and Hyde Park on the other.

One Hyde Park by Rogers Stirk Harbour and Partners

Photographs are by Nick Rochowski.

One Hyde Park by Rogers Stirk Harbour and Partners

More projects by Rogers Stirk Harbour + Partners on Dezeen »

One Hyde Park by Rogers Stirk Harbour and Partners

More residential architecture on Dezeen »

One Hyde Park by Rogers Stirk Harbour and Partners

The following information is from the architects:


The brief was for a landmark development which complements and enhances the rich textures of the existing local architecture, whilst creating a structure which integrates well with the neighbouring buildings.

One Hyde Park by Rogers Stirk Harbour and Partners

The existing rooflines – a dynamic and prominent feature of the local context – are characterised by the cupolas, turrets, gables and chimney stacks of the adjacent Mandarin Hotel.

One Hyde Park by Rogers Stirk Harbour and Partners

Detailed analysis of the context suggested that the buildings separating the Park from Knightsbridge were disjointed and varying in height, style and composition, resulting in a varied architecture along the northern side of Knightsbridge.

One Hyde Park by Rogers Stirk Harbour and Partners

With the exception of Bowater House, one of the key consistent features was the expression of verticality, ranging from the bays of the Mandarin Oriental Hotel to the verticality of the Hyde Park Barracks Tower.

One Hyde Park by Rogers Stirk Harbour and Partners

In recognition of the context – and in contrast to the design of the former Bowater House – a series of interlinked pavilions was conceived allowing permeability and offer views of Hyde Park from Knightsbridge.

One Hyde Park by Rogers Stirk Harbour and Partners

The separation of the pavilions was conceived to create a stronger visual connection between Knightsbridge and the Park than previously existed.

One Hyde Park by Rogers Stirk Harbour and Partners

The relationship of the pavilions with each other and with their neighbours followed a radial pattern emanating from a central point well within the Park.

One Hyde Park by Rogers Stirk Harbour and Partners

This resulted in a complementary alignment with the immediately adjacent buildings of Wellington Court and the Mandarin Oriental Hotel, as well as reinstating, as close as possible, the sweep of the original road and pavement alignment to the northern edge of Knightsbridge.

One Hyde Park by Rogers Stirk Harbour and Partners

The shaping of the pavilions – which widen towards the centre of the site and taper towards the perimeter – allows for oblique lateral views from each pavilion towards Knightsbridge to the south and the Park to the north.

One Hyde Park by Rogers Stirk Harbour and Partners

The pavilions vary in height, responding to the existing heights of Wellington Court to the west and Mandarin Oriental Hotel to the east.

One Hyde Park by Rogers Stirk Harbour and Partners

The circulation cores are located at the ends of – and between – each pavilion. These provide both primary and secondary access.

One Hyde Park by Rogers Stirk Harbour and Partners

The detailing of the cores is intended to be as light and transparent as possible, to maximise visual connections between the Park and Knightsbridge.

One Hyde Park by Rogers Stirk Harbour and Partners

The form of the residential pavilions and their separation at the cores breaks down the overall mass of the development and seeks to create a roof profile that does not compete with the mass of the neighbouring Mandarin Oriental Hotel.

One Hyde Park by Rogers Stirk Harbour and Partners

The upper levels of the pavilions are deliberately intended to resemble the roofscape of the immediate context in terms of colouration and texture.

One Hyde Park by Rogers Stirk Harbour and Partners

The base of the proposal responds to the differing terrains of the Park and Knightsbridge sides, at those places where they provide a street frontage.


See also:

.

Leadenhall Building by Rogers Stirk Harbour + PartnersShard 2012 exhibition by Hayes Davidson and Nick Wood100 11th Avenue by
Jean Nouvel

A Room for London by David Kohn and Fiona Banner

A Room for London by David Kohn and Fiona Banner

London studio David Kohn Architects and artist Fiona Banner have won the A Room For London competition to design a temporary one-bedroom apartment on top of London’s Southbank Centre.

A Room for London by David Kohn and Fiona Banner

The winning design resembles a boat beached on the roof of the Queen Elizabeth Hall.

A Room for London by David Kohn and Fiona Banner

A Room for London was a design competition instigated by Living Architecture and arts organisation Artangel, as part of London 2012 Festival, to create a room for two people to spend the night on a visible site or building in London. Visitors will be able to stay in the room during 2012 and bookings can be made from 8 September this year.

Images are courtesy of David Kohn Architects and Fiona Banner.

See also: Skyroom by David Kohn Architects.

All our stories on the Living Architecture project »

Here’s some more information about the project:


David Kohn Architects and artist Fiona Banner have been selected to design A Room for London, a temporary installation that will sit on top of the Queen Elizabeth Hall at Southbank Centre, London and be part of the London 2012 Festival.

The design competition for A Room for London, which attracted entries from around 500 architects and artists from across the world, was instigated by Living Architecture, and Artangel, in association with Southbank Centre. The brief was to create a room on one of the most visible sites in the British capital, where up to two people at a time could spend a unique night in an exemplary architectural landmark.

Kohn and Banner’s winning design is for a boat which, perched on the Queen Elizabeth Hall roof, will appear to have come to rest there, grounded, perhaps, from the retreating waters of the Thames below. From the lower and upper ‘decks’ of this beautifully crafted timber structure, there will be extraordinary views of a London panorama that stretches from Big Ben to St Paul’s cathedral.

On arrival ‘aboard’, a nautical flag will be raised to signal occupation, with the visitors invited to fill in a logbook on the ‘bridge’ of the boat, detailing what they have experienced during their stay, out of the window as much as within themselves. This is contemporary architecture at its most playful, beguiling and thought-provoking.

Alongside public booking, the Room will play host to a guest programme of special visitors – artists, writers and cultural commentators of all kinds. These ‘thinkers-in-residence’ will be invited to stay and encouraged to muse on the city at a moment in time, through writing, image-making, online postings or live webcasts from the Room itself as their own idiosyncratic entries in the logbook. Some contributions will be instantly experienced by the public; others developed slowly during the course of the year. All visitors will be offered a chance to share experiences of a night in the Room.

Bookings for A Room for London – for no more than one night – will be available through the website from 1 January – 31 December 2012 with advance bookings going live on the website from 8 September 2011.

A Room for London is a cultural collaboration between Living Architecture and Artangel in association with Southbank Centre and the London 2012 Festival. The London 2012 Festival is the finale of the Cultural Olympiad. It will be a 12-week UK-wide cultural celebration from 21 June 2012 that brings leading artists from all over the world together to celebrate the London 2012 Olympic and Paralympic Games through dance, music, theatre, the visual arts, film and digital innovation.


See also:

.

Skyroom by
David Kohn Architects
Studio East by
Carmody Groarke
Nomiya temporary restaurant by Pascal Grasso

Kinetica Art Fair

Art and tech collide in a London exhibit devoted to the beauty of motion

kineticart10.jpg kineticart11.jpg

At the entrance of the Kinetica Art Fair a confusing installation—a wall of brightly-lit exit signs—greets visitors. The exhibition gets no less paradoxical once you enter as life-like skeletons with crow skulls gesture and click their beaks above in amazingly realistic ways (though their bodies are actually robotic arms built by Dutch artist Christiaan Zwanikken).

kineticart1.jpg kineticart2.jpg

An unusual event now in its third year, this London fair brings together kinetic, electronic, robotic, sound and light art works. Our first thought was that it’s a physical coming to life of the One Dot Zero Robotica film that we saw last year, which as it happens is also showing at Kinetica. An edgy underground atmosphere pervades the exhibition, both literally, being held in the vast basement space of the Ambika P3 gallery, and stylistically with a host of international artists who are, in the best sense, geektastic.

Robotic and kinetic works especially summon images of hours tinkering in workshops to make these extraordinary creations. For example, a robotic arm capable of drawing or, one of my favorites, the handsome Interference Machine by Norwegian artist Kristoffer Myskja—a toy that makes two glasses filled with water sing by substituting a robot for a fingertip to rub the rim of the glass.

kineticart4.jpg artkinetic4.jpg

Overall, the impression at Kinetica was a celebration of the intricate delicacy of technology, not only in robotics but also a chirping egg nest light by Tomomi Sayuda, infinitely reflected LED light works by Hans Kotter, and even in digitally-cut clothing. Skin Graph, a new fashion label, uses the 3D topographical data from our bodies, tracing the contours of our physical form to create bespoke leather clothing—in effect, a second skin.

kineticart5.jpg

Those in London can check out the show through 6 February 2011.


Restaurant at the Royal Academy by Tom Dixon

New Royal Academy Restaurant by Tom Dixon

British designer Tom Dixon has completed the interior of the new restaurant at the Royal Academy of Arts in London.

New Royal Academy Restaurant by Design Research Studio

Created for restauranteur Oliver Peyton of Peyton & Byrne, the dining area features a free-standing metal-framed glass unit to house sculptures that were previously hidden away in the Academy’s archives.

New Royal Academy Restaurant by Design Research Studio

A bar made of lava stone and handmade bricks lines one end of the room, while the dining area has been divided into zones each inspired by an architect or artist key to the Academy’s history, including John Soane and J.M.W Turner.

New Royal Academy Restaurant by Design Research Studio

Furniture and lighting designed by Dixon also features, including a new range of chairs and the perforated Etch lamps (see our earlier story), which hang in clusters.

New Royal Academy Restaurant by Design Research Studio

Dixon oversaw the project as creative director of interior design firm Design Research Studio.

New Royal Academy Restaurant by Design Research Studio

More projects by Tom Dixon »
More restaurants/bars on Dezeen »

New Royal Academy Restaurant by Design Research Studio

Here’s some more information from Design Research Studio:


Interior design practice, Design Research Studio, under the direction of British designer Tom Dixon, are creating the interior for the new restaurant at the Royal Academy of Arts. This is the latest project for renowned restaurateur Oliver Peyton of Peyton and Byrne. The 150 cover restaurant will open to the public 18th January 2011.

The 250 m2 refurbishment references the long and illustrious history of the Royal Academy of Arts with materials chosen to complement the existing fabric of the Regency building including marble, brass and velvet.

The dining area is divided into different zones, with each area inspired by the work of a different Royal Academy Great such as Turner and Sir John Soane. To extend the gallery experience for diners, Design Research Studio has designed a dramatic free-standing unit in the centre of the space. Consisting of a number of glass cubes, the structure will house an extraordinary selection of sculptures and busts dating back to 1897. The pieces belong to the Royal Academy of Arts permanent collection but have long been stored out of public view.

The new bar is set to be a key focal point in the restaurant made from Mount Etna lava stone and hand-made glazed brick. Designed as a robust, sculptural object, its grandeur is enhanced by a dramatic cast glass chandelier suspended above. Other interior highlights include digitally etched brass pendant lights and injection-moulded foam seating.


See also:

.

Paramount by
Design Research Studio
Shoreditch House by
Design Research Studio
Flash Factory by
Tom Dixon

Google office by Scott Brownrigg

Google office by Scott Brownrigg Interior Design

Architecture firm Scott Brownrigg have completed the London office of internet search engine Google, with a giant logo in the lobby forming doorways through the two Os.

Google office by Scott Brownrigg Interior Design

Designed with a Brighton beach theme, the interior is filled with dodgem cars used as work spaces, red telephone booths, beach huts and giant dice.

Google office by Scott Brownrigg Interior Design

Wallpaper in the meeting rooms and video conference booths is printed with seaside imagery.

Google office by Scott Brownrigg Interior Design

The space also includes a gym, spa centre and restaurant offering free meals for the 300 strong staff.

Google office by Scott Brownrigg Interior Design

More office interiors on Dezeen »

Here’s some more information from Google:


SCOTT BROWNRIGG INTERIOR DESIGN COMPLETES PHASE ONE OF GOOGLE’S NEW LONDON OFFICE

Scott Brownrigg Interior Design has created a new 40,000 sq ft office for Google at 123 Buckingham Palace Road, London to accommodate over 300 staff.

Google office by Scott Brownrigg Interior Design

The new office is designed to create a dynamic and collaborative work environment that supports the growing number of Google staff in London. As with many other Google offices worldwide, the office has a strong local theme. Joe Borrett and Jane Preston from Google, working with the Scott Brownrigg Interior Design team chose a theme of London-Brighton and as a result many iconic elements of both are incorporated into the office design.

Google office by Scott Brownrigg Interior Design

For example, brightly coloured timber beach huts are meeting rooms and giant colourful dice accommodate individual video conference booths, original dodgem cars and traditional red telephone booths are all work spaces available to staff and visitors. Open plan workstations for all staff are mixed with a few offices, meeting rooms and open break out seating areas and support spaces for printing and IT technical support. Google look after the health and welfare of their staff in an exceptional way and Scott Brownrigg Interior Design has designed a fully fitted out gym/shower facility, massage and spa treatment centre, and an Asian Fusion/Sushi restaurant that is free for all staff.

Google office by Scott Brownrigg Interior Design

Ken Giannini, Interior Design Director of Scott Brownrigg stated: “It is little wonder that Google is one of the most desirable places to work in the UK. We have enjoyed every minute of this exciting project. All the Google staff are up for innovation, brilliant ideas and they like to be challenged. We also recognise that Google is a serious business and demands efficiency, value and solutions that can support their business practices. This project has it all – a fun working environment that also incorporates lots of practical solutions.”

Google office by Scott Brownrigg Interior Design

Joe Borrett, Head of Real Estate and Construction for Google commented that: “The office was designed and delivered in a very fast timescale (4 months) and the team of consultants and the contractor pulled out all the stops to get it done. It was an impressive effort.”

Google office by Scott Brownrigg Interior Design

Jane Preston, UK Facilities Manager at Google said: “The first impressions by visitors and our staff has been very positive. The project fits well with our real estate and HR strategy and will definitely help support our growth plans. We see the work environment as a major recruitment factor for us to compete for the best talent and this new office certainly does that.”

Client: Google
Interior Designers/Planning: Scott Brownrigg Interior Design
Programme Managers: CBRE
Project Managers and Cost Consultants: MottMacDonald
M&E Consultants: TBA
Main Contractor: Cameron Black
Size/floor space: 40,000 sq ft
Timetable: 16 weeks
Furniture: Desking System: Bene, Task chairs: Herman Miller, Knoll, Vitra, Hitch Mylius, Wiesner Hager, Arper, James Burleigh
Flooring: Interface Floor, Object Carpet, Dalsouple

Completion of phase one was November 2010 and phase two (10,000 ft2) completes March 2011.


See also:

.

KK Outlet by
Fashion Architecture Taste
Cheap Monday Office by UglycuteA Red Object by
3Gatti Architecture Studio

Shard 2012 exhibition by Hayes Davidson and Nick Wood

Future London by Hayes Davidson and Nick Wood

Here is a selection of images created by photographer Nick Wood and architectural rendering studio Hayes Davidson to demonstrate how The Shard tower by Renzo Piano Building Workshop might be photographed once complete in 2012.

Future London by Hayes Davidson and Nick Wood

Shard 2012 is billed as an online exhibition of “future photography”, manipulating photos Wood took from different vantage points in the city to show how the iconic building will look in the context of London’s skyline and how it might be captured on camera.

Future London by Hayes Davidson and Nick Wood

Top: view from the south
Above: The Shard and St Paul’s, original photograph. Below: after manipulation

The images juxtapose The Shard with some of London’s most famous architecture, including Tower Bridge and St. Paul’s Cathedral.

Future London by Hayes Davidson and Nick Wood

All images are © Hayes Davidson/Nick Wood and issued under creative commons (Attribution-NonCommercial-NoDerivs 3.0 Unported (CC BY-NC-ND 3.0)

Future London by Hayes Davidson and Nick Wood

Above: from London Bridge

More about The Shard in our earlier story »

More skyscrapers on Dezeen »

Here’s some more information from the photographers:


Shard 2012 is an online exhibition of ‘future photography’
Hayes Davidson and Nick Wood

The Shard is rising fast. At 300m tall, the Shard will be the tallest building in Europe and for many this is one of the most exciting new buildings in London for decades.

Future London by Hayes Davidson and Nick Wood

Above: with the Millennium foot bridge

It is already beyond doubt that the Shard will be a highly recognisable, photogenic symbol of London as well as one of Europe’s most photographed buildings. Photographs showing the juxtaposition of the Shard with the historic and the iconic will be highly sought after.

Future London by Hayes Davidson and Nick Wood

Above: from Tooley Street

Shard 2012 is an online exhibition of ‘future photography’ of the Shard exploring some of the vantage points from where the Shard might be photographed in 2012 when it is completed. Shard 2012 project is a partnership between London based architectural CG studio Hayes Davidson and London photographer Nick Wood. The project was initiated and financed by the artists independently of the developer. The Shard is a development by Sellar Property Group and is designed by the Renzo Piano Building Workshop.

Future London by Hayes Davidson and Nick Wood

Above: view from the south

The project started with a question: “Imagine the Shard is now complete. Where and how might Londoners photograph it in the future to capture its form, beauty, juxtaposition with the historic, as well as its relationship with everyday London?” Nick Wood set about exploring potential vantage points from all over London and photography was captured in late 2010.  After the team reviewed and selected the preferred images, Hayes Davidson set to work to ‘complete’ the Shard.

Visit the online exhibition »


See also:

.

The Shard by Renzo Piano Building WorkshopLeadenhall Building by
Rogers Stirk Harbour
More photography
on Dezeen

The Leadenhall Building by Rogers Stirk Harbour + Partners

The Leadenhall Building by Rogers Stirk Harbour and Partners

Work has restarted on the Leadenhall Building in London by architects Rogers Stirk Harbour + Partners.

The Leadenhall Building by Rogers Stirk Harbour and Partners

Construction was halted in August 2008 due to financial difficulties experienced by developers British Land. However a new deal agreed with Oxford Properties means work on site has recommenced.

The Leadenhall Building by Rogers Stirk Harbour and Partners

Located in London’s Square Mile, the base of the 47-storey glass tower will measure almost half an acre with the form tapering towards the top, resulting in different sized floor plans at each level.

The Leadenhall Building by Rogers Stirk Harbour and Partners

The diagonal structural bracing will be visible through the building’s façade from the interior and exterior.

The Leadenhall Building by Rogers Stirk Harbour and Partners

Glass lifts on the side of the building will go right up to the tip of the structure.

The Leadenhall Building by Rogers Stirk Harbour and Partners

The building will comprise offices, retail spaces and restaurants, with the base of the tower forming a six storey public space.

The Leadenhall Building by Rogers Stirk Harbour and Partners

Construction is due for completion in 2014.

More projects by Rogers Stirk Harbour + Partners on Dezeen »
More skyscrapers on Dezeen »

The following information is from the architects:


CITY OF LONDON’S LATEST LANDMARK DEVELOPMENT UNDERWAY

Construction has recommenced on what is set to become one of the most iconic buildings in London’s Square Mile, British Land and Oxford Properties’ The Leadenhall Building.

Following an announcement in late December 2010 on the completion of a joint venture partnership between British Land and Oxford Properties for the 610,000 sq ft development, photos revealed today show the scheme’s contractors back on site and pressing ahead with piling works (the laying of structural support for the building).

Located at 122 Leadenhall, the tapering 47 storey, 736 ft (224m) tower was designed by Rogers Stirk Harbour and Partners and is due for practical completion in mid 2014. Combining flexible office space with retail and dining facilities, the development features a spectacularly landscaped, seven-storey open space at the base of the building, which covers nearly half an acre and is of a scale unprecedented in London.

The development’s tapering shape delivers floor plates of varying size, ranging from 21,000sq ft on the lower floors to 6,000sq ft at the top of the tower, all with spectacular views over the capital.

Great care has been taken to ensure the design of the building complements the surrounding architecture, particularly with regard to London’s viewing corridors. Seen from the west looking towards St Paul’s Cathedral, The Leadenhall Building will appear to ‘lean away’ from the historic monument.

Nigel Webb, Head of Developments at British Land, said: “Since completing the joint venture partnership with Oxford Properties late last year, we have moved quickly to return to site and forge ahead with the construction of this iconic new London building. The Leadenhall Building is already generating strong interest from a broad range of occupiers in the insurance, financial, professional and corporate business sectors and will complete at a time when we believe strong demand and supply constraints will coincide.”

Richard Pilkington, Development Director, Oxford Properties added: “Our plan was always to move quickly in the New Year and it’s great to see major construction activity on the site again, giving confidence to the occupier market that The Leadenhall Building will be delivered by mid 2014.”


See also:

.

The Shard by Renzo Piano Building Workshop53 West 53rd Street by
Jean Nouvel
Le Projet Triangle by
Herzog & de Meuron

Ashish

London’s King of Sequins puts a fashion shine to pop culture
ashish-1.jpg

A Delhi-born fashion designer living in London, Ashish Gupta‘s East-meets-West approach all comes down to sparkle. Runway shows might resemble Bollywood productions with parades of theatrical ensembles splashed in vivid color, but there’s nary a sari in sight. Instead Ashish, known as “The King of Sequins,” interprets pop culture cliches—from preppy knits to Hawaiian prints—with the dazzling material. The Central Saint Martins grad describes the instant glamour they add as magical, explaining how “sequins animate clothes and throw light on surrounding walls.” The offbeat effect first caught the attention of buyer Yeda Yun at London’s Browns Focus boutique, when Yun spotted a friend of Ashish’s wearing a sweatshirt in brown herringbone tweed with chunky cream ribbing, covered in neon-orange sequin bows.

ashish2.jpg

Such highly imaginative work isn’t as easy as it looks; Gupta says, “I get bored of things very quickly so its always a bit of a challenge going from initial ideas to runway show without ending up being completely random!” For his Spring/Summer 2011 show (pictured at top), the line pairs Western accessories—cowboy hats, Native American feathers, trucker hats with Coca-Cola logos and McDonalds’ golden arches emblazoned cowboy boots—with a range of sequined tops, skirts, dresses and pants that look like something like Rihanna might wear to a truck stop. The previous A/W 2010 collection (pictured above), a tad more subdued (if that word is ever appropriate for Ashish), included a range of Gypsy-inspired sequin outfts that referenced traditional Uzbeki designs and patterns found on Persian rugs.

ashish-sequins.jpg

Like a modern Midas, everything Gupta touches shines. Fabrics that on first take look normal aren’t really how they appear. Flannel, cotton and wool textures are actually glittery garments, all made by hand. “I subconsciously imagine everything made in sequins, sometimes it doesn’t occur to me to use anything else! I’ve been working with sequins so long now it’s very instinctive. I love the way sequins look, the way that they move and hang on a body and how a dress can look like molten metal or wet paint.”

Achieving such stunning effects takes more than Gupta’s passion alone. Working with intricate material isn’t easy, requiring the skilled hands of sometimes up to sixteen people to finish. Gupta pulls it off in his own factory in India, explaining, “All my garments are made to order. Its a very unusual way of working, almost couture. The fabric is stretched onto frames then beaded, then cut out and sew together and then hand finished.” With each sequin sewn on individually, quantities are small but each item is truly a “labor of love.”

ashish-nike1.jpg

Whether a comment on mass production or simply a love letter to the brand, Nike resurfaced as a theme in his S/S 2010 show after making its first appearance five years prior. The affinity is in keeping with the designer’s slight obsession with American pop culture, but also perfectly embodies his interest in making something glamorous feel casual. “I like things to be easy, so I usually design things that can be slipped on and off easily, I love pockets and zips, things that makes clothes feel relaxed and comfy. A fully beaded dress should feel as comfortable as an old t-shirt.”

Ashish will show his Autumn/Winter 2011 collection at London Fashion Week this February, mixing London references, polished punk and “really classic fabrics” in sequins, naturally. The line sells from stockists around the world.


The Mill Showreel 2011

Comme tous les ans, voici le nouveau showreel 2011 très attendu par le studio The Mill basé à Londres, New York et Los Angeles. Un condensé d’images présentant le meilleur de leurs réalisations et productions en publicité, animation, clips et habillages. A découvrir dans la suite.



mill4

mill5

mill2

Previously on Fubiz

Copyright Fubiz™ – Suivez nous sur Twitter et Facebook