Fashion designer Jonathan Anderson has always valued the relationship between ceramic forms and fashion.
In December, he organized an Akiko Hirai ceramic and porcelain exhibition, titled Setting a Hare in the China Shop, at the JW Anderson boutique in London and, in February, collaborated with ceramicists Magdalene Odundo and Shawanda Corbett for the fall of labels. Collection and presentation 2021.
Photographed by Juergen Teller, the project included a series of JW Anderson women’s looks, still life images and ceramic sketches of Ms Odundo and Ms Corbetts, as well as their portraits and covers designed as part of the collaboration.
I was really obsessed with this idea of figure and shape, Mr Anderson wrote in an email. Working with them and their art has been an inspiration and kind of an incredible sounding board for me when creating the collection.
When London briefly reopened last summer, the designer was able to spend time with Ms Odundo and experience the sculptural work of US-born Ms Corbett.
The common thread between the two artists is their exploration of the body, its physicality and the idea of pots as vases of information. I often visualize the positions I wish to capture in my ceramic vessel, Ms. Odundo wrote in an email. I thought the collaborative project would complement our interest in the human figure.
Fashion and art have long maintained close ties, resulting from collaborations such as that of Elsa Schiaparelli and Salvador Dal in the 1930s. But sculpture has recently become a point of interest for designers.
For example, since joining Celine in 2018, Hedi Slimane has commissioned a number of sculptors James Balmforth and Oscar Tuazon, among them, to create in-store installations, which have generally been described as brutalist in style.
And over the past year, a new crop of collaborations between designers and artists has shone the spotlight on ceramic sculptures characterized by organic and biomorphic shapes.
Lisa Z. Morgan, head of the clothing design department at the Rhode Island School of Design, said the trend was linked to a desire for haptic experiences. I think right now when, you know, there’s so much fear, there’s so much sterility, really, I mean, we’ve kind of moved into this space where you know the disinfectant for them. hands is the smell smelled. I think I wanted that kind of closeness, she said, almost you can feel the touch, you know, through the eyes.
Kris Van Assche, artistic director of Berluti, the French heritage house known for its heritage in leather craftsmanship, found that having to present his work through screens and digital formats had drawn him more than ever to the fact. hand.
This period has made it more difficult to communicate the difference between the high-end luxury that Berluti represents, Mr Van Assche wrote in an email, as people cannot see the collection for real, touch the fabrics, See the details.
An interest in French ceramics led him to the work of Los Angeles-based sculptor Brian Rochefort, known for his volcanic-looking ceramics that he created between trips to Latin America and East Africa. I developed these sculptures and vessels, said Mr. Rochefort, which are more like abstract memories of the places I have visited. The textures, the colors all I remember.
Mr Van Assche said he admired Mr Rocheforts’ unconventional and free-spirited approach to ceramic craftsmanship, and that working with a well-established artist was part of the message he wanted to convey to Berluti. A collaboration was conceived and the results were introduced in the spring 2021 collection.
His work, Mr Van Assche wrote, is the result of an accumulation of texture and color, layer after layer, and conceptually it reminded me of how the craftsmen of Berluti make patina. , also layer after layer.
And, he added, there is something very joyful about the explosion of color in Brians’ work, which seemed like a good remedy for the times we live in.
Mr Rochefort said he sent around 75 photographs to Mr Van Assche, who then set out to transform the designs into knitted sweatshirts and printed silk shirts and jackets.
It was just great to see it in a different context, Mr Rochefort said of his work (it usually takes him around two weeks to create a piece). We basically took a three-dimensional sculpture. We layered it on top of a flat piece, and then it reverted back to a three-dimensional sculpture when it wore out.
For London-based jeweler Jessica McCormack, the events of the past year have given her time to put into action what had been an ongoing conversation with artists Nikolai and Simon Haas. She had met the twin brothers through a friend eight years earlier and had ordered a lamp for her store in a townhouse in Mayfair.
Although discussions about a project started 18 months ago, as Ms McCormack said, everyone has always had a million things.
A series of collectible ceramic jewelry sculptures called Fairy Berries, set with an array of round brilliant-cut diamonds and mounted on brass plinths debuted late last year, as well as a small collection of jewelry and a jewelry box.
It’s very beautiful and a very well done and serious craft that they do, Ms McCormack said, but it’s fun and I think maybe that’s what I’m trying to do with jewelry. It is serious because its investment, time and money, but it can still be fun and joyful and a happy thing.
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