Carol Christian Poell - Designer

[Scott]

and that has the paper magazine feature i have-

http://carolchristianpoell.mak.at/publications/index_html/img/098 CCP_Paper.pdf

 

[amour_amour363]

and that has the paper magazine feature i have-

http://carolchristianpoell.mak.at/publications/index_html/img/098 CCP_Paper.pdf

^ Great! His comments about creating a women's collection are particularly interesting. Thank you for sharing!

 

[softgrey]

so sorry to keep asking --- is there a 2013 collection or was the last one in 2010?

 

[runner]

the 2010 is the current collection they are still producing with minor changes.

 

[Cold]

Bomb #73 Fall 2000
Sketches 1999


dewyskin.tumblr

I believe one of the writings is a quote from Georges Bataille.

 

[softgrey]

thanks for responding runner...i understand now...

that sketch is really beautiful...thanks cold...

 

[runner]

what did you want to express the most in this season's collection (S/S 2003)?
to be able to make some garments.

materials are usually a strong feature in your work, such as the intestinal leather and dog hair used in a sweater. since you started, which fabric sticks out the most in your mind? could you elaborate on the difficulties you have encountered while developing materials?
the fabrics that stick out in my mind are the ones still to realize. many difficulties and a lot of making mistakes but always worth it.

if you could present your creations in the place of your choice and the way you want to, where would you choose?
nowhere.

are there other things you would like to design apart from fashion?
orthopaedic instruments and body parts.

if you were to express the carol christian poell vision in a single word or phrase, what would that be?
no vision but indecision.

what is the first thing you do at the start of the season, when designing a collection?
I complain.

what/who are the current people, art. music and periods/styles you are interested in?
the people I work with.

what else might you have done if you were not a designer?
tailor.

what do you think is the most important quality for being a designer?
to have a good memory.

could you say a few words towards young people who hope to become designers?
if you want to be really creative you are better off not to become a designer.

^ what he mentioned in the summer of 2002 ( things around those days include leather sudare, afghanhound-like fringey jacket and trousers, Π shaped inseam/crotch trousers, leather dust emulsion spray coating, every conceivable play with tape, shoelace knits, leather knits, PVC knits, dog fur knits, buffalo, mole, "cheap leather", condom, walking stick, etc. maybe his work was most magnetic around there in his career as a trickster. therefore it was when ccp was possibly most enthusiastically received in japan, by way of astonishment rather than conviction, force rather than validity, virtuosity rather than technique, concetto rather than concept, sophism rather than logic, provocation rather than answer. by way of what breton called convulsive beauty. oxymoron, aprosdoketon, hyperbole and ellipsis. 2x2=3. the uncanny, the skin-ego, the mirror and anamorphoses. on the other hand he was renowned as an aesthetician who makes most devoutly classic and most simply beautiful shirts. by the way it was also the year altieri presented linea and LUC did the first capsule collection with luca still taking part in 1+1=3 and something about the time started to make them accelerate or make that acceleration possible. they were selling well. lift etage, that was originally a back-street palace that resulted from an intensive following they had at lift ecru. at the opening reception, one of the owners was wearing a ccp suit and the other a linea coat steamed in salt crust that practically works as a dress if you fasten the front closure. it did look fertile and promising, although simultaneously it seemed like everything that doesn't last. those designers looked as if they had been prepared for exit anytime. )



please don't reproduce these images outside of this thread, thank you very much
my scans
courtesy t
courtesy barneys shinjuku

 

[runner]

knock, and it will be opened to you

 

[runner]

ccp for mandarina duck (short-lived line from the late 90's to the early 00's)
jacket made to order available in grey and yellow


please don't reproduce the image outside of this thread thanks

my scan

 

[softgrey]

knock, and it will be opened to you

wow...
those metal elbow pads suddenly make complete sense!...
..




thanks...that is awesome!

 

[runner]

recent arrivals from 09 and 2010 collections
if the products are good and attractive, there is no need for such stuff as planned obsolescence.

images from lift

 

[softgrey]

i love all those things...
so true- if it's good, it can be forever...

evergreen......

i wonder about how they dye the shoelaces for the shoes...
just cause i have been dying shoes lately...
...
i guess they can't put the shoelaces in the shoes while they are in the dye bath...
but it makes sense to put the laces in the bath at the same time to get a compatible color...

 

[runner]

it's like taking a bath with clothes on.

 

[softgrey]

^
i'd actually really like to do that!
...

if only i could go to an onsen with my clothes on~!
...

 

[runner]

^ you'd get dizzy since the bath has to be turning like this


some things from ØØ OFF-SCENE (SS 08), for historical purposes
since old imageshack pics seem to have gone


images courtesy atelier

 

[runner]

atelier

 

[runner]

art-magazin
giacomozanardelli

 

[runner]

excerpts below from merleau-ponty / the visible and the invisible, followed by working notes

Reversibility: the finger of the glove that is turned inside out---There is no need of a spectator who would be on each side. It suffices that from one side I see the wrong side of the glove that is applied to the right side, that I touch the one through the other (double “representation” of a point or plane of the field). the chiasm is that: the reversibility---
It is through it alone that there is passage from the “For Itself” to the For the Other---In reality there is neither me nor the other as positive, positive subjectivities. There are two caverns, two opennesses, two stages where something will take place---and which both belong to the same world, to the stage of Being.
There is not the For Itself and the For the Other---They are each the other side of the other. This is why they incorporate one another: projection-introjection---There is that line, that frontier surface at some distance before me, where occurs the veering I-Other Other-I.
The axis alone given---the end of the finger of the glove is nothingness---but a nothingness one can turn over, and where then one sees things---The only “place” where the negative would really be is the fold, the application of the inside and the outside to one another, the turning point---

to put it graphically, it could be like this:
glove|evolg
in a sense, the collection too was about the hiatus between glove and evolg.

the official image used for the season (the first attachment) was the close-up of the glove fingertip as a figure starting to look like ground and the allusive blank as a ground with " sign of a shaking [ébranlement] ". it seems as if they are in a relation of transgression.
the seasonal top page video on his site was titled "doors" where each stall door turns by itself in the lavatory of an old cannery, the venue of the presentation.

I experience — and as often as I wish — the transition and the metamorphosis of the one experience into the other, and it is only as though the hinge between them, solid, unshakeable, remained irremediably hidden from me. But this hiatus between my right hand touched and my right hand touching, between my voice heard and my voice uttered, between one moment of my tactile life and the following one, is not an ontological void, a non-being: it is spanned by the total being of my body, and by that of the world; it is the zero of pressure between two solids that makes them adhere to one another.

mak
carolchristian poell
atelier

 

[runner]

As the secret blackness of milk, of which Valéry spoke, is accessible only through its whiteness, the idea of light or the musical idea doubles up the lights and sounds from beneath, is their other side or their depth. Their carnal texture presents to us what is absent from all flesh; it is a furrow that traces itself out magically under our eyes without a tracer, a certain hollow, a certain interior, a certain absence, a negativity that is not nothing...


merleau-ponty / the visible and the invisible, followed by working notes

http://www.giacomozanardelli.com/showcase/off-scene/index.php

 

[softgrey]

beautiful...
i feel a lump in my throat as i look at these...

words fail...