the interactive PDF
Transcription
the interactive PDF
Resource for Secondary Art and Design About this Resource Can beauty be designed? This resource explores how contemporary designers have questioned historical and contemporary ideas of beauty. It investigates the design processes of three contemporary designers. Background An exhibition, ‘Beauty By Design: Fashioning the Renaissance’ held at the Scottish National Portrait Gallery in 2014 –15 showed fashion garments created by contemporary designers, inspired by old master paintings from the National Galleries of Scotland collection. The designers looked at Renaissance (1300 –1700) portraits to see how ideas about fashion and beauty have changed over time, and created designs that remind us there is no one fixed definition of beauty. Their aim was to challenge the current ‘thin ideal’ we see in the media, and improve self-esteem by adopting a more diverse approach to fashion design. Your design We invite you to respond to a design brief and create your own original garments, as these three designers did. Investigate images from the National Galleries of Scotland collection, including historical and contemporary works, and compare them in terms of fashion and beauty. Menu ‘Lace Silhouettes Series 1’ by Mal Burkinshaw ‘Double Exposure’ by Claire Ferguson Headpiece: Memento Flori. by Sally-Ann Provan Design Brief Further Study Credits Silhouettes en Dentelle – Series 1, (Lace Silhouettes – Series 1) by LACE = wealth + status. MaL Burkinshaw inspiration From studying old master paintings in the National Galleries of Scotland collection, Mal was influenced by the portrait of Margaret Graham, especially the decorated white lace jacket worn under her black dress. He was inspired by how lace in these times showed wealth and status. Black lace was popular during the Renaissance but rarely seen in portraiture of the time. Decorated lace jacket under the overdress - extremely fashionable for court ladies in the early 1600s Elaborately embroidered flower motifs MAIN MENU NEXT MaL Burkinshaw development Mal’s idea was to make us question our perceptions of beauty in terms of body size and gender. He decided to fuse a modern, classic jacket design with Renaissance fashion. Sophie Hallette lace patterns He used black lace and developed a close collaboration with Sophie Hallette lace. Mal developed a technique involving laying lace on a lightbox, the lace was mirrored so the effect is symmetrical. He called the result ‘X-ray lace silhouettes’. initial concepts MAIN MENU NEXT sewing lace to netting MaL Burkinshaw production pinning lace on netting Using a light box, Mal developed a technique for ‘painting with lace’. Over 800 hours were spent embellishing the jackets by hand instinctively on a lightbox. The final series of jackets could be worn by any gender and do not conform to standard UK size measurements. Materials & equipment: • Sophie Hallette lace • Nylon netting • Light box MAIN MENU collaging lace and netting laying netting on §lightbox final result NEXT Double Exposure by Claire Ferguson inspiration Claire was influenced by the fabric and silhouettes in these portraits of Mary, Queen of Scots and Lady Arabella Stuart. She noted how the distinctive lines of Renaissance dress were exaggerated in portraits of this time. She investigated the stitching and construction of Renaissance ruffs. Exaggerated lines created by corset MAIN MENU NEXT Claire Ferguson Initia l dress Sketch Initia l knit Samples development Claire wanted to highlight how the proportions of the fashionable female figure during the Renaissance are different from today’s female figure. Tuck stitch S ophie sample o ver ce Ha llette la She created a fabric with structure and flexibility, that could be worked into defined shapes for two different dresses, exploring outlines, scale, texture and space. large sampling on a knitting machine MAIN MENU NEXT Claire Ferguson production Claire created two dresses in one. The knitted outer dress represents the silhouette of a ‘fashionable’ Renaissance body shape, with a fine cotton, ribbed like structure. The inner lace dress represents a contemporary ‘fashionable’ body shape. The knitted dress encloses the lace dress at the waist, highlighting how proportions of the female figure have changed with time. Materials & equipment: • Pima cotton • Monofilament • Sophie Hallette lace • Hand operated Stoll V – bed flat knitting machine MAIN MENU bed of knitting machine showing needle layout NEXT symbols on bodice reveal sitter’s character Headpiece: Memento Flori (Memento of Flowers) by Sally-Ann Provan inspiration Sally-Ann was interested in how Renaissance artists used symbols to demonstrate the sitter’s status, wealth and good character. Shape of the ruff, a symbol of wealth For example, carnations stand for engagement and a woman’s love; butterflies represent the shortness of life; the rose is a symbol of the Virgin Mary; and honeysuckle symbolises fidelity, love and devotion. MAIN MENU Period garments were often worn held together with pins. Sally incorporated pins into her work NEXT r crown? Brim laid ove Sally-Ann Provan development Brim becoming more solid Sally-Ann explored the shape of the ruff, but used it around the head, framing the face, instead of the neck. Sally-Ann worked on a ‘dolly head’ with wire, paper and lace to develop ideas in 3D and recorded these with photographs. She worked with symbols of carnations, butterflies, roses and honeysuckles and patterns based on Sophie Hallette lace designs. MAIN MENU Laser-cut lace graduates into laserengraving, wide brim patterned Very first shape ideas Digital CAD (computer aided design) image early shape experimentation NEXT Sally-Ann Provan production Sally-Ann’s final headpiece is based on the ruff, a fashionable and expensive accessory worn around the neck in the Renaissance by wealthy men and women. She combined a range of symbols to create a contemporary, decorative piece. Sally-Ann incorporated pearls into the work, a favourite Renaissance jewel symbolising wealth and purity. Materials and equipment • Laser cutter • Laser cut acrylic • Gold plated pins to construct the lace edge • Glass pearls and crystals MAIN MENU NEXT Design Brief Client: All Walks Beyond the Catwalk www.allwalks.org Background: All Walks Beyond the Catwalk is an organisation which aims to challenge fashion industry dependence on one body ideal, using inspirational press campaigns that feature a broader range of sizes, ages and skin tones, not just the size zero models usually seen on the catwalk. The current ‘thin ideal’ that we see in the media has been criticised for causing psychological damage, particularly to girls and young women. Ideals of beauty have varied through the ages, in different countries and societies. Today’s catwalk models look very different to images of women painted by Renaissance artists such as Titian, Michelangelo and Rubens. Your design: • Identify a model who represents a body size, shape, age or background not frequently seen on the catwalk. • Design a full 2D or 3D garment or accessory for your model to wear on the catwalk at a fashion show for All Walks Beyond the Catwalk. • Base your design on the theme of Changing Ideals of Beauty. MAIN MENU PRINT BRIEF (p.15) • • • • Your design should have strong visual impact when seen from the catwalk. It should be cheap to make, yet look good: recycle and use what you have in class or at home. It must be comfortable to wear. Create either the full size garment or accessory, or a scaled mock up. Design Stages: • Investigate and research: look at the 3 designers in this resource, the images on the first page and other fashion designers online for inspiration. • Consider and develop: come up with a few different ideas and choose the best. • Communicate a solution: make the best idea into a finished piece. • Evaluate: does your finished piece meet the design brief? • We would love to see your ideas and hear your feedback on this resource. Please send your photos and comments to [email protected] Resources for Further Study Beauty by Design Website http://www.beautybydesign.org.uk/ Sally-Ann Provan http://www.sallyannprovan.co.uk/ millinery_edinburgh_hat_studio.php Mal Burkinshaw http://www.eca.ed.ac.uk/school-ofdesign/mal-burkinshaw Claire Ferguson http://www.eca.ed.ac.uk/school-ofdesign/claire-ferguson National Galleries of Scotland Online Collection https://www.nationalgalleries.org/ collection/online-collection/ All Walks Beyond the Catwalk http://www.allwalks.org/ Edinburgh College of Art (School of Design) http://www.eca.ed.ac.uk/school-ofdesign MAIN MENU Resources for first designers – Stanford University http://dschool.stanford.edu/use-ourmethods/ Designkit for unleashing your creativity as a designer http://www.designkit.org/methods Tookit: Design Thinking for Educators http://www designthinkingforeducators.com/ toolkit/ Credits Mal Burkinshaw: Senior Lecturer and Programme Director of Fashion, Edinburgh College of Art, University of Edinburgh Claire Ferguson: freelance knitwear designer and Teaching Fellow at Edinburgh College of Art Sally-Ann Provan: milliner and Teaching Fellow at Edinburgh College of Art Sophie Hallette: creator and manufacturer of tulle and lace in Caudry in northern France since 1887 Dr Jill Burke: Senior Lecturer, History of Art, University of Edinburgh Dr Patricia Allerston: Deputy Director and Chief Curator, Scottish National Gallery Interactive Design: Andy McGregor Design + Media Ltd Thanks to staff and students of Holyrood High School for helping develop this resource. VIEW IMAGE CREDITS MAIN MENU Image Credits Page 1: Title Page ‘Silhouettes en Dentelle’ – Series 1 (Lace Silhouettes – Series 1) by Mal Burkinshaw, 2013-14, Sophie Hallette lace, handappliquéd onto tailored jackets in nylon netting, Collection of the artist ©Mal Burkinshaw, photography ©John Mackenzie Page 2: What is Beauty? (key on left) 2 1 3 8 7 6 11 9 13 5 4 12 10 14 17 15 24 16 28 22 18 19 20 MAIN MENU 21 23 25 27 26 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. Queen Victoria, (1819–1901) by Franz Xaver Winterhalter, Scottish National Portrait Gallery Esther Inglis (1571–1624) by an unknown artist, Scottish National Portrait Gallery, Photography Antonia Reeve Queen Charlotte; Princess Sophia Charlotte of Mecklenburg-Strelitz, (1744 –1818) Queen of George III by Allan Ramsay, Scottish National Portrait Gallery Allan Ramsay (1713–1784) (Self-portrait) by Alexander Nasmyth; after Allan Ramsay, Scottish National Portrait Gallery, Photography Antonia Reeve David Tennant, b.1971. by Zed Nelson, Scottish National Portrait Gallery, ©Zed Nelson Diana and Actaeon (detail) by Titian, Scottish National Gallery Dario Franchitti, b. 1973. by David Livshin, Scottish National Portrait Gallery, ©David Livshin Ruby Wax, b. 1953. by K.K. Dundas, Scottish National Portrait Gallery, ©K.K. Dundas Karen Gillan, b. 1987. by Suki Dhanda, Scottish National Portrait Gallery, ©Suki Dhanda Katie Leung b.1987 by KK Dundas, Scottish National Portrait Gallery, ©K.K. Dundas Leda and the Swan by Unknown; after Michelangelo Buonarroti, Scottish National Gallery Reclining Nude Female with Head Dress, Copy after Michelangelo by Francesco Salviati, National Gallery of Scotland Portrait of Petrus Pecquius (1562–1625) by Sir Peter Paul Rubens, Scottish National Gallery Lady Agnew of Lochnaw (1865–1932) by John Singer Sargent, Scottish National Gallery [untitled: woman smoking] by Colin Jarvie Scottish National Portrait Gallery, ©Catherine Jarvie Margaret Graham, Lady Napier by Adam de Colone, Scottish National Portrait Gallery John Byrne b.1940 by David Eustace, Scottish National Portrait Gallery, ©David Eustace Mr Laing or Laine, by David Octavius Hill and Robert Adamson, Scottish National Portrait Gallery Copy of a Figure of ‘Night’ (from the Medici Tomb), Copy; after Michelangelo Buonarroti, Scottish National Gallery Dawn Steele b 1975 by K.K. Dundas, Scottish National Portrait Gallery ©K.K. Dundas The Ladies Waldegrave by Joshua Reynolds, Scottish National Gallery, 22. 23. 24. 25. 26. 27. 28. Rev. Peter Jones or Kahkewāquonāby, 1802–1856. Indian chief and missionary in Canada [b]By David Octavious Hill and Robert Adamson, Scottish National Portrait Gallery Two Generations, Owen Logan, Scottish National Portrait Gallery ©Owen Logan A Syrian Shepherd, Attributed to Zangaki, Scottish National Portrait Gallery Portrait of an Old Lady by George Chalmers, Scottish National Gallery Prince Charles Edward Stuart, 1720–1788. Eldest son of Prince James Francis Edward Stuart by William Mosman Robert Carlyle, b.1961 by K.K. Dundas, Scottish National Portrait Gallery ©K.K. Dundas George III, 1738–1820. Reigned 1760-1820 by Allan Ramsay, Scottish National Portrait Gallery Page 3: About this Resource Background: Sophie Hallette Lace photography ©John Mackenzie Page 4: Menu Double Exposure by Claire Ferguson, 2014, Pima cotton and monofilament with Sophie Hallette lace, Collection of the artist ©Claire Ferguson, photography ©John Mackenzie Page 5: Mal Burkinshaw Investigation Margaret Graham (detail) Page 6 & 7: Mal Burkinshaw Development & Production Progress images provided by Mal Burkinshaw Image of final singular jacket, photograph by Stuart Munro Page 8: Claire Ferguson Investigation Lady Arabella Stuart (1575–1615) attributed to Robert Peake, Scottish National Portrait Gallery Lady Arabella Stuart (detail) Mary, Queen of Scots (1542–1587) by an unknown artist, Scottish National Portrait Gallery Mary, Queen of Scots (detail) Page 9 & 10: Claire Ferguson Development & Production Progress images provided by Claire Ferguson Page 11: Sally- Ann Provan Inspiration Lady Agnes Douglas, Countess of Argyll, about 1574-1607. Attributed to Adrian Vanson, Scottish National Portrait Gallery Esther Inglis (detail) Lady Agnes Douglas, Countess of Argyll (detail) Page 12: Sally-Ann Provan Development Progress images provided by Sally-Ann Provan Page 13: Sally-Ann Provan Production Headpiece: Memento Flori (Memento of Flowers) by Sally-Ann Provan, 2014, Laser-cut acrylic, gold-plated pins, glass pearls and crystals, Collection of the artist ©Sally-Ann Provan, Alistair Clark Photography Clark Photography.