SUSAN FANG [BA WOMENSWEAR]
CENTRAL
SAINT
MARTINS
[AiR_fliP] “Just as one can compose colours or forms, so one can compose motions.” So the visionary sculptor Alexander Calder once thought, and so the Central Saint Martins student Susan Fang tenaciously believes. AiR_fliP explores the links between our perceptions of beauty and the instinctive allure of nature. The ever-present fractal, nature’s precise formula of repetition and rhythm, converts its beautiful chaos into understandable geometry. This organic form of art represents the starting point for this collection: from the orbital movement in our Solar System, to the fractal edges of coastlines, to the mathematically perfect spiral formed in seashells or by water when it falls through Earth’s gravity. The simplicity of these perpetual patterns connects the mysteries of nature to the anatomy of the human body. Thus the inspiration of dissecting our bodies’ sartorial adornment leads to experiments with colour, shape and movement, often creating an ethereal illusion. Laser cut chiffon reveals a burst of colour beneath the angelic grey and white colour palette, and floating wire tendrils seem to orbit around the body in the same way that Calder’s mobiles once bounced through space. The legacy of Calder is ubiquitous throughout. His likeminded concepts of orbit, geometry and sculptural movement manifest themselves in the ethereal mobile frames that surround their wearers. These wire structures must be moulded on the spot by Fang who, much like Calder, must have a pair of pliers on hand to twist the shapes so they fit the model perfectly. With this reference Fang’s garments are able to surpass the realm of Design and embody the classification of Fine Art.
[INSPIRATION]
“
This understanding and seeing how landscapes, plants or our bodies link in similarities through the simplicity of geometric shapes, or the same-spiral movement growth, inspired me to dissect clothing into its own nature...
–SUSAN FANG
TOILE
LINE-UP
[FIRST TOILE DOWN]
There was once a toile that Susan imagined long, long ago in her First Year. She dreamed day and night of designing it and making it a reality, and finally found the opportunity during her Final Collection. With a reference to Alexander Calder’s stabiles, a mass of wire and chiffon and passion galore, Susan crafted a toile to present to the Heads of the Fashion Department. But lo and behold, “This toile doesn’t fit!” claimed Senior Lecturer Heather, and with a wave of her hand the poor toile was sent off to the side. “I see what they mean…” acquiesced a disappointed Susan, but try as she might, she will remain determined to reinstate the First Toile Down.
[FINAL LINE-UP] Susan’s Final Line-Up was exceedingly short. “Well done” was pretty much the only response she attained from the panel judging her garments, along with the decision to not distract from the looks’ movements by adding the heavy shoes she designed. Instead opting for spray painted socks, Susan now received the gift of extra time to perfect the proportion and fabric detailing for the Assessment Show. These final touches will be of the utmost importance in two weeks’ time, when only 40 designers out of Central Saint Martins’ class of 150 will be selected to participate in the Final Press Show—a BA student’s ultimate accomplishment.
[BA ASSESSMENT SHOW] “I asked random people and friends to whistle. I gave them a word of nature and they whistled their feeling for that word�
[BA PRESS SHOW 2015] None were more surprised than Susan when the muchanticipated Press Show list was posted in the BA Womenswear Studios on Tuesday, 26 May, following the Assessment Show. Her name appeared thirtyfifth on the page, cementing her participation in the finale of the exclusive show. This would be shown to the Fashion Press beyond the walls of Central Saint Martins. Although several thought of her as an almost definite candidate, Susan—characteristic of her nervous nature—suffered five days of severe stomach problems due to stress and anxiety leading up to the results. In her utter delight, the diligent designer immediately asked Course Leader Willie Walters if she could add two more looks—particularly the toile banished in the Toile Line-Up. Willie declared Fang’s collection as strong enough with six looks—particularly six slow-moving looks that needed time to traverse the narrow catwalk. Susan Fang’s final collection was set. Notably there was much discontent backstage as the rejected designers revolted with an antiPress Show staged outside the actual Press Show, forcing the exiting viewers to see their garments. It was a good idea, but one founded in bitterness. Gossip spread of such amazing designers being so mistreated by having lesser collections chosen over theirs; that the selection process was only geared toward making a show rather than displaying the truly talented. But the fact of the matter is this: when constructing a large scale Fashion Show, one cannot have only crazy, conceptually outrageous creations. The dynamic, the ups and downs of the performance, would be lost. In essence, the order of the final show by necessity is built around the top 10-15 designers; The Press Show is all about that top 10% of the year that opens and closes the show. Susan was lucky, talented and hard working enough to make it into that top echelon of a cutthroat programme.
[SUSAN FANG] ABOUT
Hailing originally from the small town of Yuyao, China, the Central Saint Martins BA Womenswear designer has since lived in Shanghai, Canada, the United States and England. She has gathered diverse references of Nature and Fine Art—her two obsessions—from her nomadic lifestyle. Each collection she designs explores the translation of movement found in nature into the specially curated, controlled movement that can be designed in a garment. Her love of Fine Art is shown in each of her presentations, which consistently become performative in her aim to evoke emotions through clothing. Fang was discovered at the age of ten, with a hobby of drawing Archer comics in her free time. To the adults around her, her drawing skills were obvious, particularly in the redesign of each character’s clothing. After ample suggestions that she should delve into Fashion Design, Susan realised the possibility of fulfilling this dream when she was accepted into the prestigious BA Fashion programme at Central Saint Martins. She interned at Kei Kagami and Livingstone Studio, which gave her the opportunity to participate on small-scale design teams who constantly experiment with the ‘unwearable’ and ‘avant-garde.’ Through unconventional experimentation of fabric and silhouette, as well as the unique expression of her material, her work transcends the genre of design and can easily be appreciated as Fine Art in its beauty and thought-provoking ideas.
[BOOKLET BY ALEXANDRIA BAILEY]