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Iris with N6 boxset

Iris van Herpen is a Holland based designer who designed the Refinery Smoke dress and water piece for the poster and the show of Joey Yung's Number 6 concert. It was said that the water piece costs about Three hundred thousand Hong Kong dollars and there was originally two pieces for Joey. However, one of them were broken during transportation.

Refinery Smoke Collection

Joey has worn one of the dress from this collection during the shoot of the poster of the Number 6 concert. She stated that the dress is heavy and hard, but the effect is beautiful.

Iris van Herpen這襲裙像雲一樣,但其實重得很,因為用了鐵網做原料,而且實物很硬,令我難以移動。不過當看到照片的時候,覺得再辛苦也值得。

Joey Yung, quoted in EastTouch

Interview

The EastTouch magazine had done an interview with Iris about the ideas of the Refinery Smoke dress.

Iris Vanherpen,荷蘭藉的時裝設計師。曾在Alexander McQueen及Claudy Jongstra門下當過實習生,在ARTEZ Art Academie修讀四年時裝設計後,在2007年創立了自己的同名品牌,曾在倫敦、東京及阿姆斯特丹的Fashion weeks展示其個人作品。其品牌除了有服裝和鞋履系列之外,Iris同時亦有製作歌劇和舞蹈的舞台服裝。

個人品牌網站:http://www.irisvanherpen.com/

1. 在創作《Refinery Smoke》系列時,你是怎樣獲得靈感呢?
是某天在觀察從精煉廠排放出來的巨大煙霧團時有感而發的,那裡是荷蘭近鹿特丹的工業區,是我每個週末都會經過的地方。雖然那裡(的空氣)十分污濁,污濁得讓人覺得恐怖,但同時卻又是個異常地賞心悅目的畫面。那種有機的姿態、柔軟度、煙霧那種無法用手觸摸的感覺,就像活生生的,詭異得有點奇妙。(我覺得)如果可以把這團飄浮半空的黑煙做成裙子穿在身上,一定是一件很絕妙的事。我製作這個系列時問了自己一個問題:「如果有一天我們可以用這種不可觸及的煙霧製作衣服,時裝這東西會不會變得有點多餘?」我一直相信未來的時裝會是一個沒有界限的國度,而現在的我正嘗試尋找這界限。所以我開始手創造了這一襲襲煙霧裙子,讓穿的人的舉手投足如煙一般。

2. Joey是不是第一個穿上你的作品的亞洲女星?
是。

3. 如果你要用三個字來形容你看見Joey把RefinerySmoke裙子穿在身上的第一個印象,你會怎樣給這下定義?為甚麼?
神秘(mysterious),獨特(unique),強而有力(powerful)。Refinery Smoke 的裙子不是那種可以日常穿的衣服,把它穿在身上需要很大的勇氣,而Joey穿起這裙子就十分合身。

4. 跟以往穿上你的裙子的人比較,你覺得Joey穿上Refinery Smoke裙子時給你怎樣不一樣的感覺?
在Joey之前,穿過我的裙子都是歐洲人,看起來有點像陰天的雲。但Joey穿起來就更貼近煙霧的形態,因為她的strong face令這裙子變得更edgy,有工業的味道。

5. 我們覺得你選用於創造「Refinery Smoke」的物料十分有特色和饒富趣味,為甚麼你會選用這種物料來製作服裝呢?你覺得這種物料怎樣把穿戴者的性格和氣質表露出來?
為了製作這裙子,當時我設計了一種物料:用金屬紡織的網紗。這種料子十分薄和讓人容易郁動,是一種把煙霧(的形態)實體化的最佳物料。它的樣子和觸感很有工業的味道,就像陳舊的機械一樣。製作它們的初期,顏色的閃亮的銀色,然後它們氧化,逐漸變成暗啞的灰色,現在,某幾件更開始因鐵銹而銳變成美麗的紅銅色,這種陳化的過程十分獨特,而且每一件的變化都不一樣,展示它們獨有的性格和深度,就像我曾經看見的煙霧團一樣,是活生生的。

6.可以跟我們分享一下你近來在忙些甚麼嗎?
近來在忙不同的project,譬如剛在7月的阿姆斯特丹Fashion week裡進行了我自己的品牌新一季SS11的預覽,現在將會把這個系列繼續伸延,然後分別在9月及10月在倫敦Fashion Week和巴黎的Showroom發表,同時我正在手製作SS11新的鞋款及手袋設計。另外, 我在為將於9 月在德國舉行首演的「Madama Butterfly」設計舞台服裝。還有就是在研究一種叫「rapid prototyping」的技術,預計將用在明年三月在巴黎Fashion Show的showpiece上。另外是一些展覽,其中包括2月的紐約時裝展、在明年夏天舉行的Arnhem Mode Biennale和Central Museum Utrecht等。

Images

Crystalization Collection

Joey has worn the water piece from this collection during the Number 6 concert while singing "Sing More and Stronger", meaning the "cold water" splashed by haters would cause her became stronger.

Joey's production team has done a interview with Iris van Herpen about the water piece after Joey's concert. The full interview was included in the live products of the concert.

Interview

Could You tell us the concept behind this water piece?
Crystallization. Chaos shaft structure. Amsterdam Fashion Week, show July 2010.

Jan Benthem and Mets Crouwel, from Benthem Crouwel Architects, asked me to design a dress inspired by the new city museum, which they called 'the bathtub'. As a reaction to their bathtub, I designed a dress that embraces the body like a warm bath. This became the vision and the beginning of this water piece for Joey. What fascinates me most about water is the transformation from liquid to solid chaos structure. The fact that a totally transparent and fluid material hides a secret structured pattern of lines which, so it seems, only comes to life when frozen, thus when crystals are formed. Only then will the symmetry and structure become visible. In one form it's water, soft and fluid as a warm bath, and as ice it's hard and mathematically structured into crystals.

What inspired you to create the crystallization collection?
My goal for this clooection was chaos as structure. I am fascinated by the fact that there are secret lines hidden in totally transparent and liquid material. Life appears at the moment of freezing, when crystals form. Only then does the underlying symmetry and structure become visible. In the transformation of water into crystal, I find the liquid chaos, which evolves into a solid, architectural structure, which became my inspiration for this 'Crystallization' collection. I am fascinated by the secrets and invisibility of water, in particular the antithesis of structure and chaos, so I took this as the foundation of my collection. Imagine the transformation of water to crystal, soft and fluid as water, as opposed to hard, mathematical structures such as ice crystals. This process I translated visually, but also in the design process. Seeming chaos to structured precision.

How did you capture the water splashing and turn it into the water piece?
I bought a few books with pictures of water, really nice. I researched the forms of falling and splashing water. Then I did a lot of experiments with different techniques. I found out that PET G works the way I wanted. I melt the material with a heat blower into the shapes that I want, then I form it with tiny pliers.

What was your biggest challenge in making it?
Well, it is totally unpredictable. So in the end I make like ten times the object that it is in the end, because most things go wrong. Then I start again. So I never know exactly how the material will react. Sometimes it suddenly gives little bubbles, or something else happens.

Joey looked radiant, brillant on stage wearing your water piece. People were positively overwhelmed by the water piece when Joey stepped onto the stage. How did you feel when you saw it on her? What kind of image do you want to project to the audience?
I felt very honored and proud that she wore the piece that I designed, it looked very cool! I want to show the strong and independent personality of Joey within her unique concert that she is giving to the people

What is particularly impressive about the water piece is its strong silhouette, yet it is physically very brittle. Was the contrast intentional or experimental? (Is it true that you originally made two pieces, one that Joey wore at her concert, and another that broke?)
The-contrast of the strong and fragile look was intertional, because water has something very strong and fragile as well. Also the contrast of movement and stillness was important to suggest in the piece. And it is true, I made two pieces, the other one broke in transit. That was a very big disappointment for me, because I had spent so much time on it, and it is impossible to make the same one again.

So it took you almost a month to make the water piece. From concept to production, which part did you spend most time on?
Production, because I made a lot of shapes that did not work out the way I wanted.

At the moment, what kind of materials do you have in mind that you want to try most?
we are experimenting in NY with flexible polyamide and differnet finishings on it, very interesting!

Images

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