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Two

Contents

Odd Spring / Summer 2012

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Sven Hoppe LCF MA ‘10.


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Credits

Pictures Words

EDITOR-IN-CHIEF / Gemma Kirk CREATIVE DIRECTOR / Gemma Kirk ART DIRECTOR / Liam Smith CONTRIBUTING WRITER / Gemma Kirk CONTRIBUTING PHOTOGRAPHERS / Mark Dorrian / Scott Schuman Garance Dore / Vanessa Jackman / Tommy Ton / Todd Selby

Odd is published by Gemma Kirk Ltd. To subscribe please telephone +44 (0)20 3278 0220 (UK) Reproduction of any part of this publication is strictly prohibited without prior permission from the publishers including all logos, titles and graphic elements. All rights reserved © 2011. Printed in the United Kingdom.

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Wouter Baartmans LCF MA ‘10.


Six

Editor’s Letter

Genetic Changes in Human DNA A Thousand Calamities

An examination into why genetic changes in human DNA, resulting in physical deformities that necessitate radical alterations to garments have inspired designers to focus on the exaggeration or minimisation of certain elements of a garment to produce a ‘look’ which occasionally shocks but sometimes dictates a trend. “Know thyself, pathologically, what a fragile bubble you are; and exposed to a thousand calamities. If you understand these things, you are a man and a genus very distinct from all the others.” - Armand Marie (Date unkown, page unknown) Our DNA, the hereditary material of life, affects how we look, how we behave and our physiology. A code-change (or mutation) in the DNA of a single body cell or a number of body cells can cause minor, and in some cases major changes in many aspects of an organism’s life. Human genetic mutations have fascinated scientists since the mid-nineteenth century in a continued endeavour to both uncover and develop an understanding of the evolution of our species. When searching the word mutation in the dictionary, the definition “the deletion, insertion, or rearrangement of larger sections of genes or chromosomes” sums up perfectly how I have investigated my silhouette on a mannequin. I have deleted, inserted and rearranged parts of garments to ‘mutate’ them. Enjoy the magazine. - Gemma Kirk.

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Rick Owens Givenchy via Dis Mag Shoulder Dysmorphia


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DNA

Physical Differences ‘Freakish’

The central theme of this collection is the exploration of the more extreme human DNA mutations which often lead to physical differences that are regarded as abnormal or ‘freakish’. In such cases, radical alterations to classic garments are a necessity to disguise deformity.

Cigouave via fuckyeahgoths.tumblr.com

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Ten

Shorts

Johnny Eck sub

Tailored shorts from the 1930s to the modern day could be worn by Johnny Eck to hide his shortened torso and lack of legs.

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Above: By Scott Schuman, The Sartorialist - thesartorialist.blogspot.com Opposite: Image taken from the Johnny Eck Museum


Twelve

Shorts

Sub sub

Shorts and cropped trousers fitting people with little or no legs.

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Above: By Scott Schuman, The Sartorialist - thesartorialist.blogspot.com Opposite: Illustration by Tripleeyelidsart


Fourteen

The Elephant Man

Johnny Eck sub

Samantha Edwards creates a disproportionate silhouette with an exaggerated right shoulder like that of the suits worn by John Merrick.

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Above: Samantha Edwards LCF MA ‘07 Opposite: John Merrick the ‘Elephant Man’


Rick Owens Rick Owens via Dis Mag Shoulder Dysmorphia

Rick Owens McQueen via Dis Mag Shoulder Dysmorphia


Eighteen

Shoulder Dysmorphia

Exaggerated shoulders of Dis Magazine’s ‘Shoulder Dysmorphia’ (see previous page) hidden by Ruth Costello’s oversized, slouchy blazer and the padded shoulders by Raf Simons.

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Ruth Costellovia F Tape Roar Talent


Raf Simons Autumn / Winter 2009

Raf Simons Spring / Summer 2010


Twenty Two

Siamese Twins

Sub sub

As part of Commes des Garcons S/S ‘11 show Kawakubo seems to have emulated the positioning of Siamese twins Daisy and Violet, known as the ‘Texas Siamese Twins’.

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Taken All garments from The Sartorialist by Commes - thesartorialist.blogspot.com des Garcons SS ‘11.


Twenty Four

Siamese Twins

Tom Browne too in his A/W ‘09 collection seems to have taken inspiration from Conjoined Twins.

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Above: All garments by Thom Browne AW ‘09 Taken from The Sartorialist thesartorialist.blogspot.com Opposite: -Illustration by Tripleeyelidsart


Twenty Six

Shoulders

Sub sub

Kenny Easterday (above) has oversized shoulders and arms to help him move around but it can also be seen used in the opposite image for fashion purposes.

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Above: Taken from M O O D - http://haw-lin.com Taken from The Sartorialist -Opposite: thesartorialist.blogspot.com Kenny Easterday


Twenty Eight

Shoulders

Examples in fashion

Another example of how exaggerated shoulders in particular can be used in garments. Altered proportions and exaggerated elements within garments now form part of what are often applauded as innovative, exciting and ground-breaking design classics. Some designers push the boundaries and demonstrate that whilst slightly exaggerated elements within garments may be controversial and interesting visually, wearable and current looks can be created.

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Image source unknown


Thirty

Colour Palette

In the 1920s and 30’s when sideshow acts were at the height of popularity, fashionable colours to be seen in were beige, brown, navy blue, grey and light blue.

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Thirty Two

Fabric Swatches

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get rid of vent

Thirty Four

needs lining

Krivo Blazer

Toile Development

waistcoat over blazer look

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double collar placement

sew 2 shirt patterns end to end

Thirty Eight

Krivo Shirt

Toile Development

th raw edges e way around bo th l al d an st button

shape outside to make it more interesting

add sleeves Odd


interesting shape flat too straight and long

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bric too much fa

Merrick Shirt

Toile Development

make into shirt?

and add collar make much tighter, twistier

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Forty Two

Distortion of the human form through the introduction of greatly exaggerated or unexpected shapes into garments results in fascinating, questioning and sometimes disturbing images which often echo the real-life struggles faced by those living with some sort of genetic mutation.

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shoulders too big

Forty Four

take up and in

Merrick Trench Coat

Toile Development

add belt

sleeve too bunched

cings define fa

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Forty Six

A softly sculpted silhouette which is wearable, comfortable and visually exciting. In essence; to enable extremes to be cloaked in subtlety.

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take in at hips Forty Eight

re and add pleats lower waistband mo

Pleated Berr y Trousers

Toile Development

lower waistband more and sho rten legs

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Fifty

Use of fabrics with a variety of textures and patterns support and exaggerate the important ‘mutated’ features of each garment to create an overall look which provokes interest from the onlooker but provides confidence to the wearer.

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at front d add opening leave loose an

Fifty Two

neck through different neck line

sew up 2 of the neck lines

Tocci Shirt

Toile Development

take in draping

llar line and co squint neck

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Fifty Six

Tocci Blazer ve ight slee and add r e v e e l s t nder lef take in u

Toile Development

round

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off ed ges of front


Sixty

Top Shapes

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Sixty Two

Final Outfits Outfit 1

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Sixty Four

Final Outfits Outfit 2

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Sixty Six

Final Outfits Outfit 3

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Sixty Eight

Final Outfits Outfit 4

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Seventy

Final Outfits Outfit 5

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Seventy Two

Final Outfits Outfit 6

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Seventy Four

Line Up

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Seventy Six

Range Plan

6 Straight Eck Shorts

7 Merrick Shirt

8 Krivo Shirt

9 Tocci Shirt

10 Merrick Jumper

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1 Pleated Berry Trouser

11 Krivo Cardigan

2 Pleated Avery Trouser

12 Tocci Jumper

3 Pleated Eck Shorts

13 Tocci Blazer

4 Straight Berry Trousers

14 Krivo Blazer

5 Straight Avery Trousers

15 Merrick Trench


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Eighty Two

Lookbook

Odd Spring / Summer 2012

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