Revolution: Surf

The subculture is surfers known as “soul surfers”. This product reflects how the surfing community can lead the world for change that is necessary to evolve exponentially to live the change that is necessary.

Target audience:  Women aged between 20-40

Surfers are defined by their casual clothing, their cars that get them to the surf (or allow them to crash in the car) and their lifestyle that incorporates surfing.

Season: Summer mainly at this point in time; however there is the potential winter season wear.

Environmental issues revolve around the potential pollution of the water via sewerage or toxic disposal. The other main environmental concern is of course the alteration of the wave formation due to man kinds interference.

 

“Surfers’ Environmental Alliance (SEA) is committed to the preservation and protection of the environmental and cultural elements that are inherent to the sport of surfing. Our goals are achieved through grassroots efforts, community involvement, education and humanitarian efforts. We engage in projects that strive to conserve the quality of our marine environment, preserve or enhance surf breaks, protect beach access rights, and safeguard the coastal surf zone from unnecessary development”

Colour palette: to be used will be blues and greens to represent the ocean; along with an array of lively colours to reflect a young modern vibrant mood.

Symbols:

Old school cars, arms up in revolution poses to reflect the times for change: possible communism imagery or women put in potions that men are usually in with a surf board under their arm.

Women on tractors; riding horses; driving fast cars; in a business suit

I like the idea of using scientific equations to represent: wave

Motion: revolution: water: etc, etc, etc, and encapsulating them into an image of a wave????

Botticelli’s image of a woman in a clam shell.

Awareness: What is Surfing Habitat?
1. Waves
2. Clean oceans
3. Marine critters (fish, seals, whales, sea birds)
4. Coral Reefs
5. Ecosystem flora and fauna (plankton, kelp)
6. Watersheds on land

Global threats to Surfing Habitat:
1. Sea Level Rise
2. Ocean Acidification
3. Ocean Warm

Style influences:

Inspiring Themes: women, the ocean, science, feminist women,

 

 

POST 4: Dorothy Jeakins

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Dorothy Jeakins built an impressive list of credits in theater, film, and television and came to be respected as one of the best costume designers in the entertainment industry.
 
Jeakins submitted original drawings to a competition and won a three-year fine arts scholarship to the Otis Art Institute in Los Angeles, where she studied drawing and painting. Jeakins graduated from Otis in 1934 and joined the Works Progress Administration, Southern California Art Project as its youngest woman artist. In 1936 she accepted a position painting animated cells in the color department at the Walt Disney Studio , then in the late 1930s, she joined the Los Angeles department store I. Magnin, drawing fashion layouts in the advertising department. Her work caught the attention of a Twentieth Century Fox art director, who hired her as an assistant to illustrate costumes for the studio; she was eventually assigned as an assistant to costume designer Ernst Dryden.

For ten years beginning in 1953, she served as designer for the Los Angeles Civic Light Opera Company, and was curator of that city’s textile and costume collection at the County Museum of Art. In 1987, she was awarded the Women in Film Crystal Award for outstanding women who, through their endurance and the excellence of their work, have helped to expand the role of women within the entertainment industry. Jeakins, who retired in 1990, once summed up her designing: “I can put my world down to two words: Make beauty. It’s my cue and my private passion.”

POST 5: Issey Miyake

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Miyake had always wanted to be a fashion designer, and in 1959 he enrolled in a graphic arts course at Tokyo’s famous Tama Art University. Five years later – in early 1965 – he moved to Paris to fulfil his dream.

He scored a gig with Guy Laroche in only his second year in France, which lasted from 1966, to 1968. In the year that he ditched Laroche, he was snapped up by none other than the Givenchy house of design.

Then in 1969 he moved to New York City to work for Geoffrey Beene and two years later, after earning a good deal of capital, he set up his first creative studio – the Miyake Design Studio, or MDS, in Tokyo. This wasn’t so much a place of design and production, but more a laboratory of sorts, where Miyake started experimenting with various blends of fabric and synthetic textiles.

Soon after this in 1971, Miyake International Incorporated was set up and the Japanese designer launched his first collection. It was exhibited in both New York, where he was residing, and also in Tokyo.

During the ’70s Miyake’s work was largely conceptual – he pioneered a vast array of techniques, many incorporating age-old Japanese traditions – but it was the during 1980s that Miyake stirred the soul of the masses.

Making use of natural fibres and other fabrics, painstakingly researched at the Miyake Design Studio in Tokyo, his designs became hugely successful, not just in high cultural circles, either.

In the ’90s Issey Miyake is largely accepted for kicking off the pleat, which today comes and goes with fashion trends year-in and year-out. His development of the pleating theory revolved around first sewing garments, then finishing them, and finally the pleating.

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Post 6: Frank Gehry

Much of Gehry’s work falls within the style of Deconstructivism, which is often referred to as post-structuralist in nature for its ability to go beyond current modalities of structural definition. In architecture, its application tends to depart from modernism in its inherent criticism of culturally inherited givens such as societal goals and functional necessity. Because of this, unlike early modernist structures, Deconstructivist structures are not required to reflect specific social or universal ideas, such as speed or universality of form, and they do not reflect a belief that form follows function.

An interior designing project that defines Gehry’s design philosophy was the Conde Nastcafeteria of New York City, completed in 2000. Every seat in this 260 seater cafeteria is individually sculpted, and an island in the center of the space is surrounded by individually designed glass curtains. Such a design vocabulary is possible only as a result of a high degree of technical research by the Gehry design team, which has become a hallmark of Gehry and Associates.

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POST 3: Petra Dufkova

Petra Dufkova

Hailing from the Czech Republic, Petra studied in Germany at the International Fashion School Esmond. While she was still a student, she won a Best Illustration Award at China Fashion Week.

Illustrator Petra Dufkova’s use of watercolour gives a romantic contrast to the sharp lines favoured in her sketches. Not typecasting her subject to the female form, Dufkova looks to everyone and everywhere for her inspiration, including the past.

Her moodier work based around taupe, beige and dark grey showcase her artistic versatility; too many illustrators focus on the lighter side of life. Her black on white illustrations portray the darker, more emotional. The series that focuses on facial portraits and palm trees reminds me of the under-side of Hollywood, the un-publicised, shadier side of celebrity.

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She is probably best known for her modern style of painting, which is unbelievably well executed. The edges look so sharp it could almost be vector!

What I loved most about Dufkova’s work are the unfinished outlines, areas of completely empty space sometimes even lacking in colour but it adds to the image rather than making it look unfinished.

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LINKS

Post 2: Eero Saarinen 1910-1961

imagesEero Saarinen:Eero Saarinen (1910-1961) was incredibly influential in shaping the American postwar design movement.
 A Finnish American architect and industrial designer of the 20th century famous for varying his style according to the demands of the project: simple, sweeping, arching structural curves or machine-like rationalism. His work embraced a new breed of modernism in which there are very few straight lines.

Saarinen first received critical recognition, while still working for his father, for a chair designed together with Charles Eames for the “Organic Design in Home Furnishings” competition in 1940, for which they received first prize. The “Tulip Chair”.

During his long association with Knoll he designed many important pieces of furniture including the “Grasshopper” lounge chair and ottoman (1946), the “Womb” chair and ottoman (1948), the “Womb” settee (1950), side and arm chairs (1948–1950), and his most famous “Tulip” or “Pedestal” group (1956), which featured side and arm chairs, dining, coffee and side tables, as well as a stool. All of these designs were highly successful except for the “Grasshopper” lounge chair, which, although in production through 1965, was not a big success.

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He employed a number of popular innovations. They made structural shells for their chairs with layers of glue and wood veneer, and put their cabinets on bases, introducing a new flexibility of placement and function.

In the 1950s Saarinen designed a series of pedestal furniture for Knoll, hoping to create a clean visual style that eradicated what he called the “slum of legs” that he thought sullied many chairs. The pieces, which included the “Tulip” chair and side table, were actually made from both fiberglass and aluminum, but he painted the entire base white in order to make it look as though it had been made from a single material.

POST 1: Tribal Belly Dancing

Belly Dance Origins

Most belly dancers tend to believe in at least one of many theories explaining how belly dancing originated. The most popular theory is that it evolved from a religious dance. Some people believe that it descended from early Egyptian dances, or from the migration of Gypsies from India. Another popular theory is that belly dance began as a traditional birthing practice to help ease the pains of childbirth.

Today, belly dance is enjoyed throughout the world and is taught in almost every country. Belly dancing offers an instant community of friends for women of all ages who find joy in music and movement. Belly dance creates self-confidence, as women learning the art often gain a sense of empowerment and self-discovery through artistic self-expression. Although many enthusiasts perform for modest income, the majority of belly dancers find the dance form to be a great source of exercise and a means of socialization.

   Tribal dance forms are rooted  in a movement in the US in the 70’s, mainly driven by “folkloric” groups performing at Renaissance Faires in California.  Drawing it’s movements, costuming, and general inspiration from the tribal cultures of the Near East, Middle East, Northern Africa/Maghreb, and Spain, the then-named “California Tribal” bellydance was, and it’s current incarnations continue to be, a conglomeration of many different influences, not the least of which being what we recognize as traditional bellydance (Raqs Sharki/Danse Orientale…).   The precursor to tribal improvisational bellydance, the Rennaisance Faire groups such as the famous “Bal Anat” (above-left) and lesser known but still pivotal “Bou-Saada”, largely performed cabaret stylings, but in “fake-loric” costuming. It is commonly known that, as unromantic as it sounds to tribal bellydance historians, these dancers who hit the Ren Faires by day simply changed costumes and danced the night away at the restaurants. They were cabaret dancers in Ren Faire drag, if you will.
There were some obvious differences which reveal this style to be stylistic acestors of some styles of tribal we know today, the most obvious of which being the costuming. The idea of using earthy, ethnic textiles, coins, many layers, very full pantaloons, and headwraps/turbans began with this style. Non-synthesized music was also a staple, being that many performances were done outdoors in a themed venue. And the idea of chorus, previously a balletic concept to most, was introduced to the bellydance world. Individual dancers or small groups of dancers would be featured in front, while the other dancers would perform or clap or generally play “moving backdrop” to the featured performers. And lastly, one will find that the terminology of ATS closely resembles that of the Jamilla Salimpour format, though not in its entirety, and the execution of the moves has evolved separately over the years.