Thread wrapped pine cone on my work table with a photo of Yayoi Kusama's 'Suit'
Last week was an amusing one for me as I was deep into new projects in my studio workspace while also keeping a watchful eye on the Fall/Winter 2013 Haute Couture presentations in Paris. One could not pair two more extreme events, but then again I am not following the runway shows as someone interested in fashion per se but rather as an observer of how other makers aim to fuse our realities.
I tend to spend a ridiculous amount of time each day looking at images from fashion and design studios – whether on blogs, in news stories, or occasionally in print magazines.
This obsession is often more of a pre-occupation with better understanding excess and the ways that we dismiss the material wisdom of mundane objects and style expressions, and in turn, the environmental impact of this failure to ultimately connect and fuse with nature.
Illustration by Marlen Keller
Chanel re-inventing the Grand Palais is basically hubris, but it is a phenomenon that might explain why an understanding of couture craftsmanship and the handwork involved makes perfect sense in a world gone mad. It is slow, time-honored design, and an occasion that allows us to wander a dense forest of desire amidst the trees that continue to shade and fuse our dappled and dis-jointed realities.
(Image courtesy of Chanel)
For readers interested in this topic, you might enjoy an article I wrote for EcoSalon in 2011 called, Is Haute Couture the New Diversity in Fashion?