Dior's Lee Young Kyoon has launched a website selling items ranging from the famous 2001 "Riot! Riot! Riot!" to 2018/19 "Replicants" Raf Simons archive collections. 

The website sells some of Raf Simons' rarest and most significant pieces available, with notable things like a "Riot! Riot! Riot!" iconic oversized shirt, or a jumper from the same period of time with David Bowie, Richy Edwards, and Joy Division concert posters on it and paper clippings featuring missing Richey Edwards of the Manic Street Preachers.

Otherwise, we see a fishtail parka named "Dazzle Ships," the "Exiles" turtleneck from the "Wave" series which is also covered in patches portraying the "Shipwreck" passage of Ortega y Gasset, rave culture and manufactured record labels, as well as a gold-plated "R" symbol necklace. 

Apart from clothes, the webshop of Lee Young Kyoon shows homeware items from Raf Simons' 2018-19 collection, such as the Joy Division lanterns. Check the Raf Simons historical pieces and enquire C'est Chaud for the price!

In the same way, recent designs of Yohji Yamamoto have a reference to his Spring/Summer 1996 collection.

The Replica line by Yohji Yamamoto continues to highlight some of his most popular designs, bringing back main pieces from the Spring/Summer 1996 menswear collection by the renowned designer. Dominated by colorful flower prints and embroidery, the collection displays the designer's passion for the peony, phoenix flower, and sunflower. The runway show was also for Yohji, who had hired a slew of teenage boys to flaunt the collection, a rare spectacle. It was as if these young guys were wearing revamped versions of their father's wardrobes, floating in bulky, flower-clad garments that played thematically into Yohji 's passion for androgynous-leaning models.

Here you can find four styles of coats, four pairs of trousers and three shirts of the Yohji Yamamoto Replica SS96 capsule, all of which have been faithfully replicated to suit identical specifications to their runway counterparts of the late 1990s. The jackets remain distinguished by lapels, pockets, and rigid collars, each with a slightly altered profile and length to match contemporary requirements. Materials were replicated similarly, using rayon fabrics and textiles made from cotton for the capsule brunt.

ARCHIVAL RAF SIMONS WEBSTORE: C'EST CHAUD

In their modest house in Porterville, California, where Rick Owens grew up, his father had an overflowing library. The books were held in the basement. According to the designer, it was always cold down there and it always smelled like sticky dirt as there was a crawl space connected to the outside. Those must have been the second-choice books of Rick Owens's father – the ones upstairs were on theology and philosophy, while the basement contained the things he probably considered fluff. Rick Owens found Kenneth Anger's Hollywood Babylon, Proust's Remembrance of Things Past (the Moncrieff translation), J-K Huysmans's A rebours, some Colette, albums of silent-movie stars and set designs, all of which shaped the style that Rick Owens, according to him, "all-too-constantly-promotes." In particular, the epics of the Cecil B DeMille Bible held his attention: lurid black-and-white glamor seen through an art-deco lens, with a quest for a higher meaning and then a clean moral resolution. 

However, if the biblical stories were all grey, glittering, opulent excess, there was a minimalist departure in the handful of movies starring and produced by Alla Nazimova, the Russian actress who gained fame on stage in classic Ibsen plays in the turn of the century but found a silent Hollywood legend on the screen. Future designer was attracted primarily to her versions of the Camille of Alexandre Dumas (1921), and the Salomé of Oscar Wilde (1923), both critical and commercial failures. They were art directed by Natacha Rambova (born Winifred Shaughnessy), whose intimate relationship with Nazimova was never clearly established-most gay partnerships have come to light during this time, but theirs have never been confirmed. 

The photos in Rick Owens's dad's basement books had a cardboard-cut-out quality which only strengthened the sense of sophisticated artifice he was reading into them. The minimalism in the direction of their art was definitely based on their budget. Both films owed a huge debt to the the art of Aubrey Beardsley, who died at the age of 25, just about 20 years before the films have been Released. In Camille the "Beardsley effect" is implied but in Salomé it is completely blatant. 

The modernized version of Nazimova's Camille is set in today's Paris, which means 1921, the year the movie was made. At the 1900 Exposition Universelle in Paris, Art nouveau has been introduced, and in this film you can see how its bizarre lines are already starting to simplify into art deco, which was to be introduced in 1925. In the lightness and sheerness of the costumes of Marguerite/Nazimova, Paul Poiret's elongated style, art nouveau articulated in fashion also made its transition.

Rick Owens remembers that he only saw the photos of these films in his father's books, and then, while he was living in Hollywood himself, he had video cassettes and watched them in his apartment's bedroom in a Mediterranean Revival House of the 1920s on Grace Avenue – a crack-infested mile above Hollywood Boulevard. He had covered the tall walls of the bedroom and windows with a brocade of dark black and gold moiré that was later remembered by a friend as "decaying peacock feathers"; extremely Nazimova.

Today Rick Owens is watching these films on TV in his Parisian grey, concrete bedroom as he showers in the morning, listening to the opera.

THE MOVIES RICK OWENS WATCHES WHILE HE SHOWERS IN THE MORNINGS

Last year, some fortunate fashion students at Central Saint Martins had the chance of a lifetime when Alexander McQueen enlisted their support in helping to make their collection of Spring 2020. 

The Look 10, worn by British model Stella Tennant, consisted of a white sleeveless midi dress featuring abstract line drawings of "dancing ladies" created by the above students. (All student's names were credited in the show notes.)

The students' dancing girl sketches were made on long white sheets during a life-drawing class led by fashion illustrator Julie Verhoeven at the London brand's flagship store. 

Subsequently, artistic director Sarah Burton hired the entire McQueen team to hand-embroider and lace a single ivory linen dress over the drawings. 

The Stitch School, a charity that fosters community through needlework, has provided specialist tables and looms for the teams in London and Paris so that each person can contribute to creating this look. 

Tennant's dress went on to inspire the Look 12 embroidery of dancing girls: a linen dress in blue with an open neckline and short bulbous sleeves. 

Burton championed this season with the school kids and her whole team working on this outfit, it all added to the sense group spirit and cohesiveness. As she wrote back then in her show notes, "I love the idea that people have the time to do things together, the time to meet and talk together, the time to reconnect to the world."

This opportunity given to London Central Saint Martins students is truly important as most now-famous designers once started their career as interns. Rick Owens, after graduating from high school, moved to Los Angeles for two years to study art at Otis College of Art and Design, before taking training in pattern making and draping at Los Angeles Trade-Technical College.

ALEXANDER MCQUEEN BROUGHT LONDON STUDENTS' DRAWINGS TO LIFE

Face masks and respirators have been staples of rave fashion that extended back to its roots in the 1990s way before they became a state-mandated requirement. Initially smeared with Vick's vaporub, face masks were used as a way to enhance the euphoria-inducing ecstasy effects when rolling at the event. For years the style persisted and became a hallmark of the rave "look" to come with club kids taking influence from movies like Blade Runner, Robocop and Hackers as the scene took on a cyberpunk edge. 

Quick forward a few decades and the dystopian dream of the future is now pretty much our current reality with it, sadly, feeling like yesterday's sweaty raves with each day might gradually be a thing of the past. With some analysts predicting that we might not see a return to live music until the earliest fall of 2021, the decimated nightlife industry has been searching for alternatives — everything from virtual festivals to reduced venue capacity. 

Although much of the industry has concentrated on making digital spaces a viable choice, LA's design company, Production Club, is concentrated on seeking for more IRL alternative. Putting to the test their experience of producing live shows and installations for the likes of Skrillex, Zedd, Sophie and Grimes, Production Club late last month unveiled their idea of a rave-ready hazmat suit as an answer to the question raised by pandemic partying. Dubbed the Micrashell, the slick-looking suit looks like a cross between the space suits from 2001: A space odyssey and the whimsical style of The Fifth Element, made in bright blue, pink and yellow neon colors accented by flashing stripes of lights that already look like it walked straight off the grounds of the Ultra Music Fest and straight into the Contagion movie. 

"The Micrashell was born from concern for our community, and concern about reckless social behavior," adds Production Club's Head of Innovations Miguel Risueño. "After witnessing the events industry fall into an unprecedented recession, and seeing large groups of people ignore social distancing directives in order to go out and party, we felt obligated to address both issues and find a solution that benefited all."

"For us the first step always is to create something we understand from the inside, we love and would use everyday, and then we expand from there," Risueño says. "We consider Micrashell a "socialization" and "culture-driven" invention, and are confident in the design concept's adaptability to address the needs of other communities."

How to dress in a similar manner to sartorially inclined musicians such as Richie Hawtin, Dubfire or Tale of Us. The answers is to choose black-oriented, techno-inspired fashion labels like Rick Owens, Boris Bidjan Saberi (apparently Dubfire's favorite), and Haider Ackermann.

Illustrations courtesy of Production Club

Production Club late last month unveiled their idea of a rave-ready hazmat suit as an answer to the question raised by pandemic partying.

THE RIGHT WAY TO DRESS UP FOR RAVE DURING PANDEMIA

Standard military-issued camouflage patterns did not develop until after World War I. Germany and Italy were the first countries to mass-produce camouflage uniforms, beginning in the mid-1930s. Therefore, camouflage uniforms were initially seen as being associated with the German army in World War II. However, by 1941 Britain had developed a unique pattern for its elite units, and the United States finally issued the short-lived “Frog-skin” pattern in 1942. The development of each of these discrete prints points to one of the most paradoxical aspects of camouflage theory: even though the primary purpose of camouflage is to render the wearer invisible in a specific environment, camouflage immediately becomes a marker of identification through its geographic and environmental specificity. Each type of pattern was uniquely different and was developed in part due to a nation’s natural environment, artistry, and experiments. Thus, each pattern inherently contained nationalistic overtones. For example, the dense forests that are abundant in their country inspired the German camouflage patterns. The paradoxical ability of coincidental camouflage to distinguish and disguise, significantly ensured the pattern’s eventual uptake by popular culture and fashion beginning in the 1970s.

By the beginning of World War II, camouflage theory was greeted with great enthusiasm. In 1941, the Museum of Modern Art in New York City presented an exhibition called “Britain at War,” which featured camouflaged models of buildings, tanks, guns and ships. The models were shown both with and without camouflage to illustrate its defensive necessity. Yet another exhibition that year presented by the Civilian Camouflage Council in New York City underscored the reality that camouflage was not just a military concern, but also a civilian one. An article in the New York Times titled “Training in Camouflage” claimed that “to millions this has been a novel experience. But the importance of successful camouflage is rapidly increasing.” Camouflage was key to the survival of both individuals and nations.

Today, designers often apply camouflage prints to their models. Within his last season, Boris Bidjan Saberi presented several variations of camouflage hooded raincoats, camo bombers and t-shirts, as well as denim pants, true to the brand’s urban roots, which boast a slim-fit and mid-rise, while their coated patches produce a camouflage effect.

In 1941, the Museum of Modern Art in New York City presented an exhibition called “Britain at War,” which featured camouflaged models of buildings, tanks, guns and ships. 

BRITAIN AT WAR EXHIBITION AT THE MUSEUM OF MODERN ART IN NYC

Vera Maxwell is another designer who, in her quest for designing for the modern woman, turned to the camouflage pattern. An innovative American entrepreneur, the use of camouflage in fashion was not unknown to Maxwell as she was a participant some thirty years earlier at a presentation of fashion styles using surplus World War II military fabric. The Museum at FIT has a two-piece outfit from 1976 by Maxwell in a painted brown and green camouflage pattern. Donated by D.V. Maxwell, this outfit is a version of her “Speed Suit,” which was an homage to the busy lives of the emerging American career woman. The use of camouflage in a suit designed to be pulled on in seven seconds celebrates the rise of the tradition-breaking career woman working for her survival. Maxwell was implying that if camouflage was integral for the armed male, it was equally important for females who had left the private sphere of the home to venture into the public realm.

Fashionable camouflage was not just consigned to the high fashion realm during the 1970s. A newspaper, reporting on the growing trend for ladies pants in 1971, noted that “manufacturers are trying every kind of fabric imaginable, a print like the army’s brown and green camouflage pattern has been splattered over jeans.” Another reporter noticed that same year that “democracy reached a pinnacle this summer…[as] fashions at Saint Tropez have joined the army this summer, with miles of khaki or camouflage fabrics. it’s really a proletarian fashion season all the way through.” Both of these observations point to the transition of using camouflage patterns borrowed from the military (whose usage by civilians had previously been restricted to surplus military fabric, with the exception of Schiaparelli) to the creation of new civilian camouflage fabrics, inspired by and referencing authentic military patterns. Camouflage was beginning to take on as a pattern able to cross gender and class barriers. This perception of camouflage as proletarian and democratic, as well as gender-neutral, was only in its nascent stage at this point, but would increase dramatically throughout the next decade, ultimately becoming the most critical factor to its success in fashion.

Perception of camouflage as proletarian and democratic, as well as gender-neutral, was only in its nascent stage at this point, but would increase dramatically throughout the next decade, ultimately becoming the most critical factor to its success in fashion.

DEMOCRACY REACHED A PINNACLE: FASHIONS AT SAINT TROPEZ HAVE JOINED THE ARMY

By January 1944, the existence of camouflage patterning and camouflage theory was very much a common reality in American society. The efficient industrial production of war-time necessities, including fabrics, meant that by the end of the war, surplus camouflage cloth was available for the first time ever. This created a problem for manufacturers, as they sought a planned way to slowly shift from “procurement to war goods disposal,” likely by advertising the usefulness of the goods. The need to get rid of camouflage cloth was also exacerbated by fact that the army was “forced to discard their “frog-skin” uniforms for fear of being shot at” because their uniforms were too similar to the German uniforms.

Two months later, in March 1944, a reporter announced under the heading “Choice Army Rejects,” that “fabrics the army has rejected are interesting civilians this spring, for the army has had some wonderful fabrics. Paratrooper cloth, cotton balloon cloth and camouflage fabrics are available.” That same month the Fashion Group in New York City presented a fashion show that included only “war baby” fabrics, such as “camouflage cloth, parachute twills and balloon cloth.” Meant to show the quality, ingenuity, and colors developed by the industry, the styles were created by “some of New York’s leading designers” including Claire McCardell for Townley Frocks, Nettie Rosenstein, and Vera Maxwell. In April 1944 the Cotton Textile Institute, Inc., with the National Cotton Council, staged a fashion show for art teachers featuring “barrage balloon cloth, rejected parachute twill and camouflage cloth in costumes for street, vacation and evening wear.”

That same month the Fashion Group in New York City presented a fashion show that included only “war baby” fabrics, such as “camouflage cloth, parachute twills and balloon cloth.”

In several of the photographs Chili Williams is shown wearing a striped playsuit, reminiscent of Dazzle camouflage, against striped and shadowed backgrounds. In the main photograph, she holds tree branches and wears high heels and a man’s camouflage jacket modified to fit her like a short dress. The camouflage pattern is the reversible American “frog-skin” design, which had just been issued as the first official American camouflage pattern. This is one of the earliest photographs of the manipulation of actual military camouflage cloth into a fashionable garment and emphasizes the idiosyncratic novelty in having a female wear an undoubtedly male pattern created for war purposes. Her playful and sexy presence in these photographs signifies an optimistic belief in the powers of camouflage while downplaying the horrors of war.

A year earlier, a Life magazine photographer captured a group of women wearing both the winter and summer version of the frogskin-camouflaged uniforms and marching in a local festival celebrating the cotton industry’s contribution to the war effort. The camouflage paint on their unsmiling faces and legs, their helmets, modest cut of their jackets and skirts and practical shoes indicate that their donning of camouflage was a sober and serious contribution to the war effort, unlike Chili William’s playful outfits. While the uniformed presence of these women during a festival indicates the seriousness with which camouflage was approached in WWII for both males and females, it is the ironic tone of Chili William’s outfit that foreshadows the subversive power camouflage would acquire, especially when applied within the contexts of gender and fashion. This disingenuous use of the military textile pattern would surface again in the 1970s, and is still felt in the pastel-colored camouflaged clothing and toys available for babies and pets today.

Life magazine photographer captured a group of women wearing both the winter and summer version of the frogskin-camouflaged uniforms and marching in a local festival celebrating the cotton industry’s contribution to the war effort.

DISINGENUOUS USE OF THE MILITARY TEXTILE PATTERN

The Women’s Reserve Camouflage Corps were uniquely ahead of their time and were also some of the first to create camouflage clothing. Yet, significantly, they did not actually wear camouflage clothing. Schiaparelli and Dazzle aside, women did not appear in military-like camouflage until the 1940s. Instead, women were encouraged to utilize camouflage precepts in their daily lives in a more feminine way. During World War II, the New York Times suggested that wives “make-over a man’s discarded shirt into a crisp bungalow apron.” This “economical way to protect her wardrobe” was “suggested as a feminine form of camouflage on the home front.”

Chili Williams, one of the top pin-up girls in World War II, best exemplifies the intersection of camouflage, fashion and the feminine in the first half of the twentieth century. Her pictures in Life magazine in 1943 generated over 100,000 requests for more photographs, and made her the number one pin-up girl of the armed forces. Thus, in 1944, Life presented her in a two-page spread with the claim that “Chili Williams is working for the army.” Each of the eight photos shows Chili Williams (her real name was Marian Sorenson) illustrating a camouflage technique. Each photo of her included a tenet of camouflage theory: “In camouflage, natural materials break up shapes. In camouflage the air view must be considered. In camouflage, dress to fit your background.” An official Army press release claimed that by using Chili Williams as a “visual aid” in their lantern slide lectures, “vital principles are impressed in the minds of camouflage students in a most effective manner.” Honor students were awarded copies of the photographs.

Chili Williams, one of the top pin-up girls in World War II, best exemplifies the intersection of camouflage, fashion and the feminine in the first half of the twentieth century. 

PIN-UP CHILI WILLIAMS AS THE BEST EXEMPLE OF INTERSECTION OF CAMOUFLAGE

Schiaparelli’s designs indicate an emerging feminization of camouflage theory, which began to place an emphasis on the aesthetics of the pattern, along with hinting at its possible transgressive uses when used as fashion.

However, female engagement with camouflage was not a new idea at the time. In 1917, the camoufleur Towle suggested that the creation of a woman camoufleur corps would be useful, as they could maintain and organize the large centralized supply depots. A year later, he actually voluntarily taught an unofficial Women’s Reserve Camouflage Corps consisting of 40 young women who were denied enrollment into the official American Camouflage Corps. The education for this unofficial group consisted of weekly drills and lectures three times a week on modern warfare and camouflage theory, culminating in a series of field days in which women dug trenches and camouflaged objects. However, the women specialized “on that branch of camouflage that seemed to be particularly a feminine field…[the] designing [of] the weird clothes in which the future observers and gunners should go forth to battle with the laws of optics.”

That is, they were the ones who actually camouflaged the clothing that male camoufleurs were to wear while they were busy disguising machinery, buildings, camps and ammunition. News of the Reserve Camouflage Corps was written about at length in Vogue, extolling the persistence, patriotism and cleverness of the recruits, while pitying the fact that the American government would never let them actually serve.

AN EMERGING FEMINIZATION OF CAMOUFLAGE THEORY

A gossip columnist in Washington DC noted “the latest foolishness in masculine attire dreamed up by Clyde, the cowboy chemiser of Madison Avenue, is shorts made out of camouflage cloth.” Clyde’s shorts would have fit in at New York City’s Annual Easter Parade in 1944, where the surplus camouflage umbrellas “blossomed out in the camouflage cloth that has been discarded by the Army. Doubtless this would have made many men feel at home.” This flood of surplus camouflage fabric into the American markets was treated as a novelty and had little real effect on fashion at time. Yet, much like Chili William’s outfit, the fact that some civilians wore camouflage in a non-military manner by the end of World War II underscored its new aesthetic appeal. These instances point to the multi-faceted potential of the fabric in fashion. From Schiaparelli’s innovative patterns to its status as a “war baby,” the camouflage pattern was just beginning its meteoric ascent into the fashion realm.

This flood of surplus camouflage fabric into the American markets was treated as a novelty and had little real effect on fashion at time. Yet, much like Chili William’s outfit, the fact that some civilians wore camouflage in a non-military manner by the end of World War II underscored its new aesthetic appeal.

NEW AESTHETIC APPEAL OF CAMOUFLAGE IN A NON-MILITARY MANNER

Elsa Schiaparelli created camouflage-patterned garments at least three times within a decade. In 1937-38 she designed an evening gown with a black and green camouflage print. Two years later, just after war was declared in France, she presented her midseason collection with a military theme. This small collection featured colors such as Torch Blue, Trench Brown, and Legion Red and included “a taffeta dress streaked with dark red, green and blue [that] was named ‘camouflage.’” “A camouflage effect [was also] given in an air raid hooded overall suit of pale blue transparent oil-silk worn over purple woolen.” The taffeta gown in particular caused quite a stir, as it was “dubbed the ‘washerwoman’ dress and is made to answer the prayer for something to wear direct from workaday events to playtime goings-on. It buttons down the front on miniature hand-grenades.” Schiaparelli predates by sixty years a Moschino “Cheap and Chic” dress from Fall 2000 with a camouflage print and lipstick holster. Her cheeky use of camouflage with hand grenade buttons is easily understand when one considers her connection to Surrealism and its adherents, like Salvador Dali and Jean Cocteau, with whom she had collaborated on some of her designs. She implicitly realized the irony and disconnectedness of using camouflage, by this time a proven war tactic, as an integral component for a modern, fashionable silk dress.

Today, designers often apply camouflage prints to their models. Within his last season, Alexander Wang presented several variations of camo sweatpants, camouflage back panel t-shirts, and camo canvas totes.

Schiaparelli predates by sixty years a Moschino “Cheap and Chic” dress from Fall 2000 with a camouflage print and lipstick holster.

SCHIAPARELLI PREDATES BY SIXTY YEARS MOSCHINO CHEAP AND CHIC DRESS

The likelihood of Schiaparelli finding or creating a camouflage pattern in late 1939 was not unusual. Women’s Wear Daily reported in October 1939, the same month as Schiaparelli’s military-themed collection, that “numerous French textile designers who supply patterns to domestic and overseas fabric mills are now in the camouflage division of the French army.” Schiaparelli herself noted in the years immediately before the start of WWII she “worked more closely with the textile people than did any of my colleagues. I was the very first person to see the new materials.” Fabric mills also showed their willingness to print fashion fabrics appropriate for camouflage. The American company Botany Mills was the first to “launch the idea in the trade, presenting a new group of ‘Camouflage Colors’” in “grayed tones of blues, greens, rose, taupe and a few bright shades such as gunfire red.” Schiaparelli’s use of camouflage in response to war is significant as it indicates she, like many others, was clearly aware of the militaristic implications of the pattern. By creating a civilian version of a military pattern, Schiaparelli injected political and martial overtones into fashion. “Fashion even in the most difficult years, when it goes eccentric or foolish, undoubtedly retains some relation to politics,” she wrote in her autobiography.

By creating a civilian version of a military pattern, Schiaparelli injected political and martial overtones into fashion.

SCHIAPARELLI’S RESPONSE TO WAR: POLITICAL OVERTONES IN FASHION

In the 1930s Elsa Schiaparelli was quite possibly the first Parisian fashion designer to use a fashion pattern actually called “camouflage.” Importantly, her camouflage patterns were expressly civilian and were not military surplus, and thus operated on different ideological levels recognizing the inherent beauty of the pattern, its intrinsic principles, and its life as a war strategy up to that point.

The Costume Institute of the Metropolitan Museum of Art in New York City has a Schiaparelli gown with a coincidental camouflage print from circa 1931. The pattern is pink, dark purple and light and dark brown, and contains mid-sized amoebic shapes. A newspaper reported on her Summer 1931 collection, stating that “she presents her collection for summer 1931, which exhibits strong influences from the forthcoming Exposition coloniale internationale in Paris including bold color combinations like bright pink with purple and divided skirts for evening.” Indeed, the outfit consists of three components: a wrap-front silk jacket, a sleeveless silk sheath dress with a patterned bodice to go underneath, and then a patterned chiffon overskirt with a seam in the center to form a modified jupe culotte. It is possible that her use of a camouflage-like pattern was a reference to the military superiority of the French Empire as demonstrated in the Exposition coloniale internationale.

The Costume Institute of the Metropolitan Museum of Art in New York City has a Schiaparelli gown with a coincidental camouflage print from circa 1931. 

ELSA SCHIAPARELLI SUMMER 1931 COLLECTION FEATURING CAMOUFLAGE

One important function for the typographer is to read and convey the text. The tone, the tempo, its conceptual structure and its physical size all decide its typographic form. As the theatrical director for the script, or the musician for the score, the typographer is to the text. The main goal of the practical part is to explore the realms of typographic performance and push the boundaries of expectations regarding usage of type.“The new time sense of typographic man is cinematic, sequential, pictorial.” – Marshall McLuhan, The medium is the Message, 1967.

For instance, Alexander Wang logo, reminds of impact text, basic and bold.

The first experiment, display typography, is about achieving the right balance between typographic elements and other elements in an artwork, where there is less concern about readability, and more scope for imaginative use of form. Form is combined with negative space, graphical elements, and pictures, establishing relationships, and dialog between words and photos. Type components are typically often more prevalent in color and scale than in text typography.

All three illustrations are digitally created in Adobe Photoshop and Adobe Illustrator, with the help of a drawing tablet. The idea behind typography is to merge the two different styles – a clean Helvetica Neueand the messy handwriting, and match them with the illustration. The same illustrating and typographic style indicate the drawings belong to the same collection. The drawings are later applied onto ready-to-wear garments (a plain white t-shirt).

Pattern is a natural or accidental arrangement or sequence. The elements of pattern repeat in a predictable manner. Patterns have an underlying mathematical structure. The pattern is a design used in fashion to produce any number of identical garments. In this experiment, five different typefaces are used for the creation of typographic patterns, based exclusively on letter “L”. Letter L is one of the simplest alphabetical forms, which allows easy manipulation with design elements space, shape and form. All patterns are juxtaposed according to various geometric transformations like translation, rotation, reflection and symmetry.

The first experiment, display typography, is about achieving the right balance between typographic elements and other elements in an artwork, where there is less concern about readability, and more scope for imaginative use of form

COMBINATION OF DISPLAY TYPOGRAPHY AND TYPOGRAPHIC PATTERNS

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