Hussein Chalayan and the Hussein Chalayan Company - Essay Example

PLACEMENT REPORT FOR SOYEON (ADD HERE) Overview of Hussein Chalayan and The Hussein Chalayan Company Hussein Chalayan, an internationally acclaimed fashion designer, born in Nicosia, Cyprus, graduated from Central Saint Martins School of Art and Design in 1993. His graduate collection, titled “The Tangent Flows,” consisted of oxidized clothes which he had buried in a back yard at a friend’s home, and then left there for several months (Burley, 2013). This collection was later bought by the British luxury boutique, Browns, who gave him a full window at the store, and helped launch him into the design world as a new fashion force. Chalayan began his own design label in 1994 and was named as the British Designer of the Year in both 1999 and 2000 (Chalayan, 2014). Hussein Chalayan, Fashion Designer – The Wooden Coffee Table Skirt (Fig. 1, Craig, 2014) Chalayan’s vision in his design work is to tell stories through his creations, providing a narrative within the framework of each piece. Most of his art design connects closely to the human body in some manner and there is a subtle undercurrent of sexuality, along with occasional fetishes relating to power, domination, and restraint (Burley, 2013). As in his graduate collection, Chalayan likes to design with clothes that can tell or imply some type of story, where the clothes appear to have gone through an event or action. His choice of materials, wood, metal, mirrors, were also distinctive and it has been part of his goal to always find new ways of saying something different and unique (Violette, 2011). Indeed, his most iconic show may be that of SS07, in which he presented a line of morphing animatronic dresses, which changed into another era of style during the modelling walkway process. One dress started out as a sculptured Victorian-styled dress that morphed into a 1920s flapper dress by using hidden mechanisms. The last dress on the walkway, actually disappeared, leaving the model as totally nude (Burley, 2013). Chalayan’s purpose in life is to never be bored, something that should be avoided at all cost. As he put it for one interview, “Boredom is a big thing for me. As a child, I remember being worried that I’d be bored in Cyprus (home), which is an isolated island, so I had to really create my own world to keep myself going. I think probably a lot of my worldview stems from the fact that boredom is a big thing.” (Burley, 2013). In another fashion show that Chalayan created, the focus was on wooden furniture in a living room. The models walked around the furniture and removed fabric covers off each piece, put them on, and wore them as dresses. The last piece left was a wooden table. A model walked over, removed the centre piece, then stepped into the opening and pulled the piece up to her waist. It became the layered wooden skirt, seen in figure 1 above (Butchart, 2014: Burley, 2013). Hussein Chalayan (Fig. 2, Burley, 2013) Chalayan began his design firm in London, England, but moved to Paris in 2002, to be where his Chalayan collection is shown seasonally. His designs, particularly the ready-to-wear line is always featured in top fashion industry publications, covered by international press, and the collections are found in many of the world’s best boutiques. He is followed and admired by many notable people, such as Michelle Obama, numerous actresses, musicians, artists, and trendsetter icons in the fashion industry (Chalayan, 2014). In a number of his fashion work, Chalayan has incorporated film, different installations and sculptural form to focus on different realities of life today, concerning issues in cultural identity, immigration, technology, nature, and medical issues (Chalayan, 2014). He has also exhibited not only in London at the Design Museum, the Lisson Gallery and Spring Projects, but also at the Musee des Arts Decoratifs in Paris, the Groninger Museum in the Netherlands, the Museum of Contemporary Art in Japan, and at the Metropolitan Museum of Art and the Museum of Modern Art in New York City (Chalyan, 2014). Some of his notable collaborations have been with actress Tilda Swinton, Nick Knight, Antony Hegarty (Antony and the Johnsons), Scottish dancer and choreographer Michael Clark, and the London Dance Theatre Saddlers Wells production of “In the Spirit of Diaghilev.” A joint venture with the famous Swarovski crystals company, allowed him to create a design line of motion dresses for the Spring/Summer 07 Chalayan Collection, and a rotation turning cape for the Runway Rocks presentation in 2006. His installation creation with Swarovski, called “Repose”, was placed on exhibit in two places: the Kunsthalle Mannheim Gallery in Mannheim, Germany, and at the Crystal Palace in Milan, Italy (Swarovski, 2011). The Repose creation consisted of a plane wing with strips of Swarovski crystals lining one lighted edge (shown in figure 3), while off on a wall, a large clock was installed with crystal dust applied to parts of the face (not shown). Swarovski Collaboration: Runway Rocks (left), “Repose” (right) (Fig. 3, Swarovski, 2011) Chalayan has acted as the creative director at Asprey of London, and for the luxury cashmere sweaters brand TSE in New York. He has also worked with such notable brands as Marks & Spencer, Top Shop, J Brand Jeans, and Mavi Jeans. Chalayan also travelled frequently to Istanbul , his favourite city, to visit one of his show sponsors, Turkish textile group, IKTIB, who were always happy to promote Turkish designers (Blanchard, 2000: Chalayan, 2014). In July of 2000, Chalayan was recognized by Time Magazine as one of their 100 most influential innovators for the 21st century, the only designer among a group of dotcom wizards, industrial designers, and noted architects. He was also nominated for best avant-garde designers by the prestigious New York VH1 Awards. If that were not enough, he was included by American Vogue Magazine as one of 12 designers, who will change the world of fashion over the next decade (Blanchard, 2000). Chalayan is always viewed as an intellectual designer by admirers and associates alike. His background, coming from a troubled part of the world, influences much of what he designs, in that he likes to make people think about his work. He also approaches life wanting to know more, and while he may answer a few questions, he is more likely to ask questions of the questioner. He is also interested in Islam and one of his shows was created around six models, one with a chador that covered almost all of her body, the next model with a shorter veil, and each model after that, had a sequentially shorter veil, until the last one had only the face mask. He viewed the covering of the body as being in a mummy-like state, representative of death (Blanchard, 2000). Chalayan is considered very complex and also very devoted to his work. He likes to do things a certain way and even admits to a certain amount of superstition, that if something is not done a certain way, it will bring bad luck. Yet that is part of his cultural background, he says (Blanchard, 2000). No one denies, however, that he holds a unique yet precarious position in the fashion scene, because of his originality and commitment, which puts his work second to sales goals, and first to the art of Chalayan design artistry (McDowell, 2014). He prefers to combine clothing and technology, science, music/cinema themes, and architectural premises, in order to cover the body. His work, therefore, is sometimes considered a performance rather than a typical runway presentation. Chalayan has even said that his journey has been a combination of difficulties and joy, particularly when there is a restriction of finances and time. Chalayan is now directing the historic fashion house, Vionnet, for which he designs specific demi-couture, even while continuing to develop his own label simultaneously. Like a number of other “true fashion thinkers”, such as Rei Kawakubo, Gareth Pugh, and Rick Owens, these are designers who make clothes, using them as artistic instruments, upon which to design a theme, a principle, maybe even a hypothesis (McDowell, 2014). As Chalayan said during this interview with McDowell (2014), “I am a compositional designer,” he declares. “I play compositions on the body with my clothes through the fabric. I am interested in the relationship between form and body. A good design relates to the body; a poor design just sits on the body. This is in my mind all the time.” (Chalayan with McDowell, 2014) Chalayan has also tapped into the Chinese market, mainly because he needs the business, as he puts it (McInerney, 2013). Since experiencing a near run-in with bankruptcy back in 2000, Chalayan has become a bit more financially astute about his design business, yet, as he sees it, it does take away a bit from his creativity. Chalayan’s Autumn/Winter 2013 was part of the lineup at Beijing’s Water Stone store, and Chalayan is hopeful that he might be able to call this his “own environment.” His collaboration in China, as well as Swarovski, Puma, TSE, Marks & Spencer, have provided him with learning experiences in how other companies work, such as their infrastructure, the teamwork involved, the new techniques he has picked up, and how other companies develop their collections. Chalayan compares himself with Alexander McQueen, when talking about avant-garde designers, and how sometimes it is hard to get past that permanent mark. Yet, he does enjoy creating designs for friends and people, special to him, such as Tilda Swinton, who he considers his muse; Bjork, who is known for wearing very unusual designs; and Lady Gaga, who also appreciates his work and in 2011, arrived at the Grammys in a Chalayan-designed egg (McInerney, 2013). Even if tough financial times follow Chalayan, he still has accolades tucked in his belt. In 2006, he was awarded a Member of the Order of the British Empire (MBE), and in 2011, he was made an honorary fellow at the London College of Fashion. It is good to be recognized, even if he is still looking for a sponsor for his latest showing at the London Fashion Week (Blanchard, 2014). Personal Overview of Internship Beginning Date: 6 January 2014 End Date: 6 September 2014 Staff: General Manager: Milly Patrzalek Head of Sampling and Show Coordinating Team: Izumi Harada Sampling/Show Coordinating Team Designer and Pattern Maker: Riyo Yokoi. Sampling/Show Coordinating Team Manager: Avyn Omel Part Time Stylist: Davina Ebikeme Accountant: Pavlina Dedicova Design Team Designer: Sandra Goga Special Project Designer: Stephanie Baechler Production Manager: Pollianna Zoche Machinists: Zofia Goluch, Beverley Eaton, Nana Saito, Ania Wrzaszcz, and Lucyna Plocek. Special Project: Spring Paris Show Date: 28 February 2014 Tasks: Many of the tasks were daily duties such as sample creation, production line preparations, pattern copying and cutting, all of which required great responsibility as these would be costumes for the production. We also had to create the inventory for each of the garments to be worn, which included shoes and accessories, and then double-check them on the list as they were packed up for moving to Paris. When we got to Paris, we unpacked all the inventory and got them set up for use. We also had the model fittings and stayed up very late to complete all alterations on the clothes so that they fit the models properly. During the show, we assisted the models in changing clothes and assisting with accessories. We also cleaned up the backstage dressing room and put all the costumes back in order with their associated pieces. As one must know, the models’ dressing room is a very hectic place, with fast changes and last minute fixes to wayward costume problems. Highlights: Aside from learning what it takes to run a high-level professional show, similar to Hussein Chalayan’s annual show each spring in Paris, I also learned about the differences in men and women’s clothing as well, as what it took to use the technical transformer apparatus for each of the dresses. I also learned about how the art works of the garments were used, including the infrastructures of layering when moving the transformation from one garment into the next one. I also learned about form sheet bonding, which provides support within the fabric to create volume and strength, where needed, for a better shape. During this time, we also began work on the next project, Cosi Fan Tutte. Special Project: Cosi Fan Tutte Date or Period of Time: 23 May 2014 Architect: Dame Zaha Hadid Music: Los Angeles Philharmonic Orchestra Location: Walt Disney Concert Hall, Los Angeles, CA Tasks: Many of the tasks were daily duties such as sample creation, production line preparations, pattern copying and cutting, all of which required great responsibility as these would be costumes for the production. I was doing a lot of the same tasks I had done before, but with new responsibilities, such as overseeing lead sampling and show coordinating the new interns. I also was responsible directly from Izumi, to help create patterns, make pattern alterations, lining pattern creations and conduct size grading. I also took on the production bomber jacket style number WG621 and conducted show dress sewing. As more time went by, I was given more and more responsibilities. In the middle of this project, we then began preparations for the next project, the Spring/Summer 15 show. Special Project: Spring/Summer 15 Show Date or Period of Time: Spring/Summer of 2014 Tasks: I had all of my usual tasks from the previous two projects but now was in full gear with my newer responsibilities, as noted above. The theme for this show was using different types of dress ideas, which would then transform into something else, such as a jacket and skirt starting as a dress, which were connected with fine ribbons passing through the neckline. Once the ribbons were pulled, then the model was wearing the jacket. In another version, based on an opera costume idea, which was where the top part was connected to the jacket. When the jacket was removed, then the top changed into a different shape. It was like wearing two garments in one. After the Internship: My Personal Point of View This was a very intense nine months’ worth of work, during which I felt like I learned what it took to become a professional designer. I pretty much worked my way up from the bottom, learning all the major aspects of costume design, alterations, construction principles and whatever else it took to give me a solid foundation of actual experience in the business. While we were very, very busy during these nine months, I do not regret any hectic minute of it, and feel so privileged to have worked at the design firm of Hussein Chalayan. I relished working with someone I have admired for such a long time, for the creativity and innovation that he brought to the design world. Chalayan is definitely one of the most unique designers that I know. I have been, and continue to be, an avid fan and it was such a privilege to be part of his work for this time period. Part of the new things I learned were how to price fabrics and what each piece would cost in its entirety, from beginning to end. I also learned about coordinating fabrics and colours, based on the season, and also learned to fine-tune my attention on minute details and in pattern reading. I had a goal to become a team leader and I was lucky enough to accomplish this goal. I would be upset with myself, now and then, for my own mistakes and lack of knowledge about fashion. I also kept asking myself what I wanted to be in the future in the design industry. I had to discover what I was good at, and by the end of the internship, I believe I found my answer. I am very grateful to have spent my whole placement year in this studio of Hussein Chalayan, and to be a part of the production, including feeling very much at home. I worked with a very generous boss who has such glorious and stunning designs to create. In retrospect, I also was sad to note that for such a big, well-known designer, his company was really not big enough to handle his true value. If they would focus more on advertisement and social media output as much as they focus on design, Chalayan would most likely be selling more of his design creations. It was sad for me to see many his designs that I was familiar with from previous shows and projects, just sitting off to one side collecting dust. I hope that the future will allow them to grow much bigger to match his true value to the world of design. From Employer Student Record Statement from Head of Sampling and Show Coordinating Team, Izumi Harada “Soyeon adapted to the company very well. During her placement she worked as a pattern cutting assistant and sample machinist. Soyeon coped well with all the responsibilities she was given. She proved to be both creative and organised and confident with her skills. She was keen to learn, committed and motivated throughout her placement. She responded well to supervision and performed well in the tasks she was given. We found her generally a pleasant and reliable person. We are very happy with Soyeons contribution to the company and wish her the best in the future.” Izumi Harada (2014) Resources Blanchard, T. (2000). Mind over Material. The Guardian Online. (23 September 2000). Retrieved from http://www.theguardian.com/theobserver/2000/sep/24/features.magazine37. [9 October 2014]. Blanchard, T. (2014). Style: He Dresses the World, But Britan Won’t Pay the Price for Hussein Chalayan. The Independent Online. (12 October 2014). Retrieved from http://www.independent.co.uk/news/style-he-dresses-the-world-but-britain-wont-pay-the-price-for-hussein-chalayan-1240098.html. [12 October 2014]. Burley, I. (2013). Inner Space: Hussein Chalayan. Dazed Online. (August 2013). Retrieved from http://www.dazeddigital.com/fashion/article/16705/1/inner-space-hussein-chalayan. [9 October 2014]. Butchart, A.J. (2014). Fashion Miscellany: An Elegant Collection of Stories, Quotations, Tips & Trivia From the World of Style. St. Lewes, UK: Ilex Publishers. Chalayan. (2014). About Chalayan. Chalayan Online. Retrieved from http://chalayan.com/about/. [9 October 2014]. Craig, J. (2013). Inner Space: Hussein Chalayan (Photographs). Dazed Online. (August 2013). Retrieved from http://www.dazeddigital.com/fashion/article/16705/1/inner-space-hussein-chalayan. [9 October 2014]. McDowell, C. (2014). Hussein Chalayan, London’s Most Radical Fashion Designer. Business of Fashion (BoF) Online. (14 September 2014). Retrieved from http://www.businessoffashion.com/2014/09/colins-column-hussein-chalayan-londons-radical-fashion-designer.html. [11 October 2014]. McInerney, A. (2013). Interview: Hussein Chalayan – Designer Chalayan Talks About His Recent Entrance onto the China Scene. TimeOut Beijing Online. (31 July 2013). Retrieved from http://www.timeoutbeijing.com/features/Feature/22522/Interview-Hussein-Chalayan.html. [12 October 2014]. Swarovski. (2011). Swarovski is Proud to Support Hussein Chalayan’s First Major Retrospective at Les Arts Decoratifs in Paris. Swarovski Online (PR release). Retrieved from http://www.brand.swarovski.com/Content.Node/ourinitiatives/fashion/hussein/Swarovski-Hussein-Chalayan-FINAL-Release.pdf. [11 October 2014]. Violette, R., (ed.). (2011). Hussein Chalayan: The Book. New York, NY: Rizzoli Publishers. Read More