Marco Bianchini Porfolio
Bansho Ten’in: Dometsu
L’après-midi d’un Faune S.D.P.Q.N.D.
IVNING is the title of the chosen path by IUAV University to respond to Marzotto Foundationâ€™s call about reconsidering the role of linen in contemporary fashion through the work of three international schools of fashion design. IVINING is a concept ideated by lecturer Fabio Quaranta which aims to translate linen fabrics in formal classic menswear by the use of two basic no-colors as black and white. My answer to this task has took the direction of denaturalizing the fabric both keeping its distinctive peculiarities and adding technical performance through linen manipulation. Collaborating with leading industries in technical devices for clothing i managed to create two outfits which could embower both elements of my research: the result reveals a cogitated mash up between classic formal menswear and products of technical apparel industry, while unveiling a more aggressive aesthetic derived by the nature of the treatments. The main garments of the project are the outerwear pieces for the upper body: the shapes which have surfaced are a polyurethane-vitalized cape and a hybrid composed by the symbiotic relationship between a jacket and a coat attached together.
Period: May-June 2013 For: Collaboration with Marzotto Foundation / exhibition at Pitti Uomo 84 (Florence, 18th-21st June 2013) Tutor: Fabio Quaranta
This cape gambles with the oxymoron between sleeved outerwear and the concept of mantle. The garment has the complete functionality of a cape, as the absence of constrictive or hyper-structured pieces, but aims to take the apparent frontal look of a jacket to direct it unto the world of classic formal menswear for evening. The illustration (right) shows the pattern is composed by just two main pieces: the front piece with internal pockets maintains its classic linen aspect whereas the cape piece underwent a waterproof black heavy-polyurethane coating on white lightweight linen fabric.
This garment includes and attaches two pieces of outerwear: one is a shawl-necked formal jacket; above is a coat which refers both to formal world and conceptual mood. The two are linked together at the nape by the polyurethane-coated neck pieces, which allow the wearer to simply put off the coat by leaving it on shoulders or throwing it on the back to hang it as on a hall tree. The coat’s fabric has been manipulated through waterproof and transpiring treatments, which by the way didn’t hide linen’s basic peculiarities as texture and creased effect.
sn0, i.e. senza nome 0 (untitled 0) as the very first collection unlinked to university programs and at the same time the beginning of a new personal path in menswear design, wich separates from previous projects but cointains them all. sn0 also vocally refers to the key-word of the mood, snow.
The collection materialized through the convergence of two lines of research. The main path and also the basis of the project is the research on materials, conducted with the aim to make each fabric go beyond itself through new performative possibilities. A great variety of manipulations ad treatments coincides with a large number of used fabrics, kinds of leather and laminates. The desire was to conceive a combination of very different textures which could respond with efficacy to difficult climate conditions, or rather to a harsh futuristic habitat not unlike to a new glacial era. The treatments have led to both material experiencing and aesthetic results. The aim to create heavyweight garments which could protect the wearer from cold and blows and give the encouraging impression of wearing an overbody has been converted in concrete results by using different sort of coatings (polyurethane, polypropylene, mylar), laminates, prints (digital, sublimation, U.V.). Aesthetic research just borrowed this dystopian view of future to report the dramatic tell of men coming home from war. The highly uncomfortable and risky path to from consumed battlefields to warm loved ones is a concrete topic about traumas and loss of war reality before second half of XX century. The story follows the traces of a soldier who has found himself alone in his way back home and has got lost in a snowy labyrinth in which the repetition of the same environment and the difficult climate conditions make him forget the primary purpose of return, forcing him to find refuge. Whirling snow and repeated surroundings, combined to demotivated mood and traumatic past experiences, deliver the warrior to the weakest of psychological stability; hallucinations has taken control and he swings from seeking the spirit animal to expressions of primitive violence.
Period: January-May 2013 For: Personal / presented at the International Show, Graduate Fashion Week (London, 3rd June 2013) / appeared in Trends Report 2013 of ITS contest Tutor: Gabriele Monti
@ Graduate Fashion Week - International Show, London, 3rd June 2013 Photography: vogue.co.uk
The first part of the moodboard is directed toward the identification of specific shapes, colors and materials adopted by armies during missions in cold desert areas. This allows to reach a global view of the world in which the story is set and to point out and define particular aspects of its inhabitants. White camouflage uniforms and protective clothing are the most interesting topic of this section, and also the most concrete relating to the translation in real garments for the collection. Anti-cold clothing for soldiers provide complete protection from cold, wind, blows and every kind of climatic and physical shock. A very useful suggestion was found in army apparel of first half of XX century, which often couldnâ€™t provide solutions to all needs, so it managed to give responses with materials which sometimes were completely makeshift (as for italian armyâ€™s shoes of first world war, some of which were made by out of cardboard).
The mood develops with suggestions indicating particular textures or graphic elements related to the imagery created before. Examples that fix this introduction are the graphically stopped movement of snow in photography, or the obvious dirt of military uniforms after use. From there the moodboard moves through less concrete paths to fully and deeply get into the real narrative part of the collection, as suggestions follow one each other without evident conceptual connections, in an hallucinatory process of defining aesthetic.
The moodboard concludes with its own story, and even in this cut version the variety of collected material is evident: aesthetic components have shift from concrete analysis of existing wearable elements to a more visual sequence of conceptually incoherent element which run together to express the same imagery. The tell ends by the total loss of self of the soldier, which suffers total detachment and lives with primary methods to obtain survival, whereas hos mind travels amongst space universes at the same time.
The stretch overall suits responds to the primary needs of reacting to cold and difficult climate conditions, as the fabric which composes it and interventions on materials obtained an effective performative quality against winter conditions, even worn as a single garment.
Super light and warming shirt in various synthetic materials with double breast fastening through clips and Korean neck. This garment is conceived as a complementary one: for its performances, which add their peculiarities to the overworn clothes, ad as an industrial product which can be switched from an outfit to another. Presented in the three colors of the collection in the illustrations below.
Underwear These pages are dedicated to underwear garments: it is given extended meaning to this word as it is intended as the set of pieces of garment which are worn below main outerwear. The overall suit, in its unique piece version or in separated one, really is the underwear of the collection, as it is present under each outfit to give the primary and daily responses to climate difficulties, whereas the shirts are made of super-lightweight warming synthetic materials, and have a double-breast fastening to favor protection from wind.
This outfit is composed by a set of stretch silvery coated garments (a sweater and leggings) which are worn below a woolen double-breast masked coat. The lowest part of the coat is gradually coated with resins, black color and plastic materials. The coat gives even higher protection and warm as its lining is composed of coated quilted synthetic double-fabric.
Black-and-white textured fabric has been partially covered by a shiny black coating which gradually fades into fabricâ€™s natural appearance again. This treatment, which has also been realized on trousersâ€™ fabric, give waterproof capability and expresses at the same time the dirty aesthetic of used garments of work.
The high-necked coat visually is the main piece of this outfit, as it shows two different prints and a hard architectural fitting. The silvery-laminated shirt is composed by panels which give instability and possibility to movement to the rigid material.
fabric print poly-viscose wool
On the front page, the illustration explains the composition of second skin fabric, and shows how the rigid and structured resistance of the fabric has been obtained. Woolen fabric has been coupled with thermic treatments to a synthetic mixed material, conferring to the resulting fabric the addition of both textilesâ€™s peculiarities. The material has then been printed with first outfit coatâ€™s wool texture and a camouflage design with ecologic digital print. In this page, the construction of the silvery-laminated leather skirt with samples of materials used in making the outfit.
The jacket follows the same principle of the skirt in previous outfit, as it takes advantage of lines in which leather is absent to destrucure itself. Then a shirt and a long strong cotton skirt with polyurethane details fixed by thermical alteration to complete the outfit.
The making process of the jacket is shown above: every cut piece of fabric corresponds to a slightly smaller piece of silvery-laminated leather, which is topstitched to the first one before the assembling. The resulting jacket is generally quite rigid except for the fabric-reserved lines which run through the garment. The effect is to make the jacket loose structure in unusual sectors, creating flat volumes which vent on angular solutions.
The trousers of this outfit borrow the black coating technique of the coat in outfit one and find a stronger functionality as they protect the lower part of the body (which is the most exposed to fluids) from dirt and rain water. The jacket is made of second skin fabric with an extra black shiny coating with reserved parts which show the texture of coatâ€™s fabric in outfit one.
fabric print poly-viscose wool
In this page are reported two pictures showing the most important fabrics in the outfit (on top left the coated material for the jacket, and at its right the contrast between treated and untreated stretch wool for trousers) and an illustration representing the process of composition of coated second skin fabric. The part which are not intended to be coated are reserved through various possible devices before the black polyurethane resins are applied.
This is the most complex outfit of the collection, as it is composed by various layers made by different material expressions. Each one of these has passed through some kinds of manipulation before being sewed to assemble the garments.
polyurethane dĂŠvorĂŠ wool-viscose
In this page are illustrated the three materials which compose this outfit: on top, left the graphic design for the camouflage print obtained with sublimatic technique on mixed poly-viscose fabric for the zipped jacket; the graphic design for the U.V. print on patent leather destructured trousers, which leave just lines of shiny patent material while conferring to the rest of the garment an opaque geometrical appearance; finally, the polyurethane coating on mixed black fabric, with the particularity of a devorĂŠ design on the back of the raincoat, obtained by reserving some parts of the fabric from the heat-transfer.
This outfit has a printed silk tunic and a heavy and hyper-structured, printed brushed leather coat with a coated-zip closing. The coat follows the principles of previous silvery-laminated garments except for the nature of its materials: both leather and cotton below used in this outfit are heavier and more rigid than in the other outfit.
U.V. print is a dry-print technique which allows to prints on almost every material, as color dries as soon as it touches the selected supporting material. In this outfit the technique has been used twice and in both cases the created graphic fades gradually: micro-print on leather aims to reduce brightness of leather on the higher part of the garment, whereas the crackled effect printed on mousseline satin for the tunic fades on the top. The print on leather is a clear reference to snow whirling movements and mug spurts. The crackled effect expresses the concrete fragility of menâ€™s in front of the reality of war.
PREMENS, i.e. pre-mens(wear), as the project initially tries to overlook existent menswear wardrobe to re-compose it through new shapes, material and functionality, while recovering and decontextualizing details of classic and formal clothing. This project does not present a collection but rather a a set of separated garments which may follow the same aesthetic principles but does not directly relate each other by this aspect. The intention of PREMENS is to react to exclusively theatrical and didactic fashion in fashion design schools and in precedent own work to take the concept of project at his basis. PREMENS emerges from the need to engage design process as a vehicle to obtain functional and innovative product without forsaking strong visual output. Six pieces of garment are presented here, some of which may clearly refer to classical pieces of menswear wardrobe, others take position in a more edgy context. By the way all of them responds to defined needs of a masculine wearer: the internal devices commonly adopted to tight trousers’ waist gets out of the shape in most of the clothes as a functional element to re-adapt sizes while appearing visually stronger; trousers have their lowest part made gradually waterproof; jackets assist human movements despite heavy structure or supply different heating and comfort depending on the way they’re worn.
PREMENS borrows visual moods from past projects to shrug off its shoulders formally suitable shapes while blinking at classic details, expressing with a more delicate touch the young, aggressive and subcultural imagery of the previous projects. The aim to re-found menswear wardrobe by presenting single and self-sensed garments had its beginning and its manifesto in an overall stretch suit, which supplies at the same time temperature reglulation and impermeability while replacing explicit aestheticism by maintaining its wearer’s volumes when taken off, as the ultimate form of personalization.
Period: September-December 2012 For: Graduation project and thesis Tutors: Fabio Quaranta / Gabriele Monti
In this page, technical illustration of the shirt with underlined details of coating and closing devices. On the opposite page: photos showing various tests on different materials to reach the best result in silvery coating.
This shirt is a simple shirt composed by two materials (one for the body, the other for details) plus an extra coating. Silvery coating is obtained by using resins and polypropylene laminate that are transfered on resin after exposition to heat and pressure. By isolating the areas to be treated with transparent resins, the silvery appearance is reduced to selected parts of garment. The shirt also has a device which allows to regulate sizes in relationship with its wearer. The details of classic menswear are underlined: half of the neckpiece is repeated using patent leather, while the back tear and the sleeve plackets are in coated fabric. In this page, tests of silvery coating with isolating technique (left) and with gradually fading technique.
Photos and technique illustrations for the stretch overall suit, the primary garment of the collection as it collects both technical performance and design clearness by proposing the necessary instead of the visually suggestive.
The stretch overall suit contains the entire
concept of the PREMENS project, as it combines technical performances in protection from cold, rain and wind with the elimination of all elements of contemporary and past basic menswear wardrobe. Volumes and rigid parts have been left down to create the highest comfort in movements, whereas aesthetic formalisms have been abandoned in a loos-ian process. Anyway the suit has a great possibility of personalization, which is not about applying additional materials or parts to the garments, but simply consists in wearing it. In fact the material which composes it has the peculiarity to keep in memory the wearerâ€™s body: the stronger and longer (lasting) is the tension suffered by the suit, the more reliable will be the memory of the bodyâ€™s volume.
In these pages are presented a pair of shorts and one of trousers. Shorts (this page) are an attentive consideration on sarong-trousersâ€™s pattern, a cheap piece of garment obtained by stitching together two pieces of fabric following a determined perimeter which shall be worn above the two legs and then draped. In this case, the excessive volume has ben ordered in pleats. Trousers have a double-pleated balloon volume on the waist, then tighten around the leg. As the volume reduces, the material gets more structured as test on coating allowed to make a faded coating in the same color from the bottom of the pants. Light silvery stripes on front hems is the receiving point for signs of use and dirt, which give an uncontrolled possibility of personalization.
RESEARCH The research process has taken two directions: a more technical and historical one and a more visual and suggestive one. About the first path, images and resources referring to army world represent the most extended part; decontamination processes and protective clothing also are important issues to this kind of research. Individuating garments which have been a constant elements of menswear wardrobe from the beginning of XX century has paradoxically helped in eliminating all previous visual contaminations to making a real start up in the designing process.
The second path in visual research is more about borrowing resources from previous projects: while composing imageries for past collections, a peculiar kind of research has been adopted. Any kind of image, audio or video material was precluded to selection, as the conceptual coherence was not a reason for discrimination. Only visual and suggestive coherence have been taken in consideration, so that for what concerns this project the very complex imagery composed by anime, movies, musical bands, subcultural groups, visual arts and japanese culture had to be mixed with technical sources collected in the more concrete part of research for this project.
This jacket gambles with the themes of structure and performance, as it asserts both of them while opposing them. About structure, the outer material of the jacket is a silvery laminate leather, which is a consistent material, very unusual for outerwear (leather for shoe making). But the structure is partially denied by the lines of fabric which run through the garment: leather pieces are not attached one to the other, but each one is fixed to a correspondant and larger piece of fabric. So all the junction are in textile fabric, which gives good possibility to move, while the leather structure tends to deform or flatten the general shape. About performance, whereas lamination gives leather waterproof peculiarities, the fabric at its basis (a mixed wool-polyester-viscose crepe) cannot boast the same: to solve this incongruence, a gradually faded coating has been made on lining, from shoulders to hem, to avoid precipitations to filter.
The silvery jacket is a mixed leather-fabric garment which aims to conceptualize the idea of structure in clothing by generatin in itself areas of softness opposed to the rigid material. Above, an illustration of the gradually faded coating on the lining.
The tank is the most articulated and impressive garment of the project, also thanks to its suitability to many occasions. In this page: photos, technical illustration and grafic representation of the garment. Next pages: photos and illustrations of the same garment worn in its second face.
This long tank is composed by two layers, and its concept turns around the presence and functionality of lining. As a completely double-face garment, there is no real lining in it, but the material adopted for the officially proposed outer face (the orange one) has some lining consistency remindings. This part of the tank in extended and exagerated in volume: if most of the perimetrical sides correspond to the interior face, it is not the same for the shouldersâ€™ area. The synthetic organza is abundant as the curve is opposite to the sense of the attachment between the shoulders and the neck. The effect is to make more remarkable the use of lining material for outer part when the garment is worn with the orange parte as exterior one; and aims to maximize the generation of heat when itâ€™s kept on the other face. The other part has been treated, on the opposite, as a real lining by inserting facings of the same fabric. All pockets are placed lower than conventionally to impose a relaxed posture to the wearer. About technical performances, both materials of the garment are waterproof: the synthetic organza more permable than the coated (on reverse face) black fabric shows anyway resistance to water transit.
Bansho Ten’in: Dometsu
Bansho Ten’in: Dometsu, i.e. Divine Attraction of whole Creation, is the name of a powerful attack in a japanese anime, and as collection title it expresses in its oddity the way the collection has been conceived: by merging different and uncoherent visual and audio suggestions to materialize a theatrical collection, with technical details which remain subordinate to the aesthetic output.
Bansho Ten’in: Dometsu had a very spontaneous and casual born as it grew step by step with its own referential imagery. The concept of creating a collection from a moodboard just to return it to its visual world of derivation is the primary aspect of the project. The expansive visual research, which started as a simple collection of elements involved in young culture and subculture without any final purpose, has been translated into a coherent collection which directly refers to its belonging mood. There is no intent of wearability or relation with outer world in its conceiving, as it just materialized in the strongest way possible its themes and concepts. As the guide key-word for the course was militaria, the collection mischievously gazes at military world, tracing the steps of a soldier’s day in the barracks and at the same time ironically subverting hierarchical organization in the army. The collection provides an underwear overall suit for the sleeping, shirts for the hard work and jackets for evening ceremonies; this scale can be also read by appointing each outfit to a grade in the army, in crescent order as the collection shows down. Colors and volumes follow the same order and steps of alteration, as they appear, grow or disappear during the collection. Texture alteration has been mostly used for aesthetic purposes, but nevertheless they confer a more technical leaning to the project: structure, color and sheen were the area of intervention of the treatments. The collection ends with a paradox, as it is the simplest outfit which expresses the highest point of the hierarchical scale and also the moment of greater celebration in soldiers’ (day) life: this outfit is the only concrete proposition of clothing in the collection, and also focuses on the mocking spirit of the project towards the army.
Period: April-July 2012 For: Final year course and show / also presented during the European Night of Researchers (Venice, September 2012) Tutor: Fabio Quaranta
“Bansho Ten’in: Dometsu had a very spontaneous and casual born as it grew step by step with its own referential imagery. The concept of creating a collection from a moodboard just to return it to its visual world of derivation is the primary aspect of the project. The expansive visual research, which started as a simple collection of elements, involved young culture and subculture”.
Textures Even if technical performance is not the hottest topic for the collection, a quite deepened research has been made to obtain the most concincing appearances in both volume and graphics. Illustrations in these pages show and eplain the techniques adopted in this project.
To imitate samuraisâ€™ panels to protect lower body tassels of sandwich-structured composite, a very lightweight and rigid material, have been topstitched along their perimeter between two fabric (of which one is shiny coated) to give the geometrical and volumetric appearance required. About coatings, two gender of coatings have been adopted for the collection: the first is made by heat pressing sand-color shiny resin on ecru fabrics, the other one, which has been used more massively, is a black shiny coating obtained with pressed resins and mylar. The second treatment has been used in both ways: on entire pieces of fabric or by isolating areas to create a graphic, print-like effect (figures below and left).
Wool crepe and wool jersey ecru overall suit, with leather details on neckline and sleeves hem and red coating on the front of both legs.
Volumetric-shouldered shirt in ecru popeline with coated grafics on the body and geometrical neck; large and low-waist trousers with pleats on the back.
Volumetric-multi-shouldered shirt in ecru popeline with coated grafics on the body and geometrical neck; large and low-waist trousers with pleats on the back.
Multi-shouldered jacket in mixed silk-wool organza and yellow silk shantung with coated details on shoulders and belts. Short skirt in black popeline with coated dark grey graphics to remind samuraisâ€™ protective pieces. Woolen jersey ecru t-shirt with leather neckline.
Long sleeved t-shirt with geometrical neck in mixed silk-wool organza and silk jersey, with coatings used as sniny black prints; short volumetrically texturized skirt in coated popeline; low-waisted trousers with coated red stripes on the front of each leg.
Multi-shouldered coat in mixed silk-wool organza and yellow silk shantung with coated details on revers and neck and attached backpack; volumetrically texturized skirt in coated popeline; low-waisted trousers with coated red stripes on the front of each leg.
Multi-shouldered mantle long coat in mixed silk-wool organza and yellow silk shantung with coated details on the neckand texturized lower part in coated popeline; low-waisted trousers with coated red stripes on the front of each leg.
Silk jersey top tank with shiny black coatings used as prints and details in mixed silk-wool organza; short skirt in mixed silk-wool organza with dark grey coating obtained through isolation technique.
overunif, i.e. over the uniform, or uniform over the body. The project analyzes unconventional uniforms such as violent protesters’ or housemaids’ to find its shapes and aesthetic direction, with an attentive glance to formal menswear and begin of XX century driving and sporting liveries. overunif represents the first step in a personal new way of conducting fashion projects’ research compared to previous project. The combination of unpaired suggestive elements in the same moodboard, quitting culturally obsessive and coherent research in favor of a mere visually strong and harmonious composition was a try, and has been taken along with all the projects since this collection. overunif reflects upon contrasts towards many elements in a garment or an outfit composition. Most of all it opposes femininity to masculinity, by combining the two genders in a sort of asexual form. The contrast between solid and fluid in simple shapes and on the difference in gestures between clothing and covering is an important theme to the collection, as for the dichotomy between technically functional and aesthetically pleasant. The two layers which compose both two outfits point out these opposites and also make a reflection upon two different ways to cloth the female body: by accenting its qualities or by totally covering them. The sketched collection continually swings over this edge, as it gives breaks to the stone-ish deep black plastic blocks of the coats with sprouts of color through cuts or transparencies; therefore the ending clearly declares the intention of maintaining a more contemporary clean line which supplies technical responses to wearer’s need. Industrial techniques of printing and coating were experienced for the collection, ad poses a contradiction in the realization of garments itself, as if the choice of fabrics was derived by couture textures, the manipulation of those materials lead them into a rougher aesthetic world.
Period: February-April 2012 For: Fashion Design Course 4 / selected project for collaboration with Ichinomiya Textile District (Japan, June 2012) Tutor: Carlo Contrada
As the research is complex and incoherent, and groups images of various derivations, the collection (on sketches, below) is the opposite, and proposes simple lines which repeat coherently in the pursue of expressing its conceptual contents. The dychotomies between femininity and masculinity, rigidity and fluidity, sexuality and austerity run through the evolving collection: outer shapes break and reveal inner colors and opulence of fabrics. Whereas the interior discovers itself more and more with the proceeding of the collection, a sudden return to the black solid shape states the declaration of dark clearness and smooth solidity in the collection.
Evolution of the graphic design process for the print, from basic shapes to textures and colors insertion.
Cure in details is primary to this collection, as it represents the edgy line between the two contradictory themes involved in the project. Bracelets express both delicates and hardness, the chained layers which adorn them are a connection to the most styled, glamorous and couture face of the collection, whereas the smooth and hard surface recalls the touch of the outer pieces. Easy fastening on the back opposes to formal classic details from menswear as shirt necks or bow ties. The entire collection is about industrial production to imitate or desecrate high end feminine couture, and these details are the underlined sentence which encloses this message.
Photography of details and accessories as chained necline, back of the bowtie, shirt neck, coated gloves and braclets.
Styling variations on the two outfits by keeping or taking off the coated organza and double organza outer pieces to reveal the printed mini-dresses (woolen crepe, mousseline satin and popeline) which stand below.
L’après-midi d’un Faune
L’après-midi, i.e. a mixed gender collection with high-culture references obtained after a deep research in romantic and aesthetic european literature and fine art.
L’après-midi d’un faune is a poem of 1876 by Stéphane Mallarmé which inspired the almost omonymous Prélude à l’après-midi d’un faune by Claude Debussy. They both are considered masterpieces and perfect examples of aestheticism and symbolism in liberal arts and music. This project goes into deepness of Symbolism and Aestheticism with an attentive glance to XVIII century’s Romantism to compose its articulated and shadowy mood. Starting by literature to reach fine arts, the research progress cumulated a great number of visual suggestions attached to audio and video resources which meditated on the relationships between Nature and human beings in state of nature. The classic and manieristic imagery which derived was a shaded tableau where frightening and tumultuous landscape literally merged with people. According to D’Annunzio’s writings (Halcyon and The Child of Pleasure) men and women get lost in the emotivity suscitated by the perception of Nature. Nature intended as the whole living entity which in Wordsworth and Coleridge’s poems unleashed the sense of the sublime. Then this perfectly shaped and brush stroked imagery has been contaminated with its opposite, a digital intervention on resources. This action blemished the images and throwed them in a dark cavern by crating hybrid creatures and hybrid landscapes. Nature is seen as a protective mother but also as a pretending lover which seeks for chair and blood to feed its beating ground. Our story starts with two young children, brother and sister, which dive into the forest in search of adventure. They get lost soon, as they get themselves lost and do not recognize being part of human society. The relationship between the two gets carnal as everything is carnal in the forest, even the swish of wind through tree’s branches reminds of that ancient godness with legs of goat: Pan. The collection charges in aesthetic the human figure to gradually dive it into this toxic but freeing world; all fabrics used are natural, from ethereal silks to heavy wools, and the gradual multiplication of layers coincides with the continual separation from human condition. Period: April-July 2011 For: Fashion Design Course 3 Tutor: Patrizia Fiorenza
First part of the research points out the setting of the tell by referring to ancient maps of cities and labyrinth; as the moodboard evolves more and more fleshy nature gets involved, as the attention shifts from bucolic landscapes to human emotivity in front of them. The sense of the sublime grows as strange figures emerge from the dark of the forest. Classic and artistic sources mixed to contemporary imagery introduce the feeling of loosing oneself in the belly of Nature.
The moodboard continues as the research stops and leaves the ending to graphic manipulation fo sources. The imagery gets deeper in interpreting the feeling of lost poets and darker as the tragic conclusion of the tell approacher. Human beings return into state of Nature and they became sort of hybrids merging with animals and flora. On the next page, scans of the projectâ€™s sketchbook.
Through digital devices, the cultural highly compressed moodboard has been translated through repetition, isolation of lines and shapes and various effects into graphics which maintain the dense significations of the research while materializing it into more direct instruments of work. From the re-elaboration of these illustration have been taken the approximative shapes used as sketches for the realization of the collection.
Lâ€™apres-Midi collection shooted at the ancient pits in Maerne, Venice. The approaching of the two brothers of the tell is shy and gradual, but they rapidly turn into natural inhabitants of these relinquished places on which flora has taken control a long time ago.
S.D.P.Q.N.D., i.e. Se désagrège pendant qu’elle nous dévore (Crumbles while it devours us) is an accessories collection conceived after a deep reflection upon the relationship between cities, their inhabitants and passing visitors, incited by the lecture of Invisible Cities by Italo Calvino. The concept which founded this collection is about the difficult connection between a space (in this case, a city) and time going by. Studying the relationships between cities and people it had become an evidence how the concept of time in an artificial world like the city is linked to human presence. This assertion is not only derived by the action of inhabitant and visitors on their own space of living, but also because of the primary link of the concept of time with human mind and sight. So the research was directed towards urban space which have conflictual rapports with time and, over all, two categories emerged and they both represent space not offended by time going by: abandoned cities, which may be destroyed by environment but do not face time passing because of the absence of humans; never built cities, which are by definition without time, as forever translated as graphic signs and informations. Returning the attention to actual populated cities and relating them to previously described elements, the point of view which derives is both fascinated and pessimistic: contemporary cities are very dynamic and vital places, which hold lots of human lives; at the same time, cities are like enormous living entities which continuously have to be fed by humans: most of inhabitants work all their life to feed and improve their beloved city, but they’ll never benefit of its beauty as they’ll remain to busy in alimenting it. The accessories materialize this paradox by their own nature: these are usable bags which aim to be possessed and then left as sculptures, as too noble to be worn. They occupy the space their architectural shapes need, and they face time running on by preserving themselves from being used.
Period: October-January 2010 For: Fashion Design Course 2 / exhibited in Dani Group stand at Lineapelle Fair (Bologna, March 2011 and March 2012) Tutor: Silvano Arnoldo
The extensive research has took to a collection of references on past and futuristic architectures. Studios like Archigram, Archizoom, Superstudio, Metabolism and photographers like Geert Goiris were part of the sources for this moodboard. On the other hand, also a great number of informations and images has been collected, and the imagery has become blurrier as cities like Ronda, Setenil, Kowloon Walled City, Neft Dashlari and others joined the imagery. To follow these sources with coherence the sketches have been designed as simple and utopic graphic shapes, which have been later interpreted to get out their volumetric and texture possibilities.
These are sculpture bags, or installation bags, which have not the purpose to be use to maintain their concept clear and unraped. They place themselves as bulwark against time and declaration, but they also remember to people the time is going out, by their stubborn, static nature and eternal grace. Materials: leather, natural leather, brass laminate, fiberglass, drawstring.
Marco Bianchini Treviso (IT) firstname.lastname@example.org