Carol Christian Poell - Designer

[runner]

i would like to document the variance transformation of his belting system, as well as the gloving, i have bits here and there but nothing comprehensive enough to show/say.

and i agree, these alternation speak of the collection, like in the 2009, the buttoned belt loops - selvedge on the inside, un-button to show the selvedge on the outside.

it's good to speak of it by means of lovely prints the way ann demeulemeester did ( attachments below).
and it's also good to speak of it by means of the ebb and flow of the shank.
the shank here is still a modest practicality but also a conceptual narration, used ambivalently or prismatically.
the shank is a canon, classic vocabulary. he is speaking in classic language, but the sentence structure he makes up is novel, speaking of counter-classicism.



firstview

 

[fenrost]

speaking of collaboration, there was a customizing levis project called "tear" or something around the end of the century in london where they tore a pair of jeans and passed the torn pieces/parts to designers including ccp to let them cook each piece in their own way and put the pieces together again and exhibit the jeans in the levi store. maybe they were the designers carried by pineal eye in those days, and ccp must be involved anyway I guess.

arigato runner-san!

if i recall, ccp had done some sort of collab/ work before (can't trace the source unfortunately ) some shirts with his iconic stitching and patternwork for another company... hence my curiosity if there was more collaboration/work apart by his own.

also, i must say that sergio is very kind and humbling in responding to queries of their products.

 

[fenrost]

Some old article worth posting again,

Some bright lights in the shadows

MILAN — Despite its posh rank as one of the world's cardinal fashion capitals, Milan finds itself continuously condemned as "commercial" and censured for its "lack of youthful creativity."The only reason people come, the city's critics sniff, is for an endless round of big shows and big buys from billion-dollar brands. Although Milan's well-oiled fashion system favors the megawatt fashion labels, not every designer has jumped on board - which, sadly, is why you might not have heard of them.

Rule breakers in Milan consist of those underexposed designers who refuse to do mega fashion shows, eschew flip-flop fashion trends, don't chase after press, actually like being small and, startlingly, continue to exist without an ad budget.

Some of them quite literally hide from the press, as is the case of Carol Christian Poell, an Austrian designer who holes up in a studio in Milan's Naviglio district where he quietly designs an ultra-niche, cult label that he doesn't always produce and only shows to the public when he feels like it.

Production minimums, sales benchmarks and editorial credits don't mean much to this 39-year-old, who is dedicated to the singular pursuit of innovative product for his 10-year-old label. Not surprisingly, the press-shy Poell declined to be interviewed for this article, but his fans have plenty to say.

"Carol is unbelievable," says Armand Hadida, owner of the avant-garde L'Eclaireur boutiques in Paris, who discovered the designer nine years ago and is one of just 15 vendors that carries the brand worldwide.

"Have you ever seen him?" asks Hadida. "He's two meters tall with gold teeth in front and he's so sweet; he's like a kid."​

more : http://www.nytimes.com/2005/02/21/style/21iht-rnew.html

Miu Miu and mosquitoes

...

On my last evening, on the recommendation of some Milan veterans, I went to a show that was not on the official schedule, by a designer I had never heard of called Carol Christian Poell. He was, I was promised, "conceptual" - his clothes were about ideas, not just about looking good and sexiness and wealth. It sounded pretentious but worth investigating.

We drove for an hour across the Milan suburbs. On the hot pavements and in the humid shadows of the endless apartment blocks, ordinary Italian men in blue shirts and chinos and shapeless baggy shorts stood around, with not an obvious designer item between them. We got lost. We thought about giving up. But then, on a small patch of ground surrounded by roads and a canal, there was a cluster of people standing about and an elaborate table of drinks. This was the venue for Poell.

Its significance was not immediately obvious. We stood around on the dry grass. We swatted mosquitoes. Our Milanese driver stayed in the car; when we decided to take refuge there too, he laughed loudly at the absurdity of staging a fashion show in such a place and said: "The canal is the home of the mosquito!"

Then the small crowd of Poell fans - mostly the younger, scruffier, less important sort of Milan fashion people - suddenly ran towards the canal. I got to the towpath just in time to see, in the distance but floating slowly towards us, dozens of low shapes in the water. As they came closer, resting unnaturally flat on the surface they resolved themselves into a pair of trousers, a short coat and several exquisitely dressed bodies. As they came closer still, the bodies became models. Poell's clothes glowed startlingly white and orange in the murky water: slender, modern, covetable.

All along the canal, passers-by, commuters, and middle-aged women had stopped to look. "Fantistico!" said one of the other fashion-week drivers. Then we all ran back to our cars.​

src: http://www.guardian.co.uk/lifeandstyle/2003/jun/27/fashion

 

[runner]

there were a few involvements where it was simply designer job rather than collaboration project.
for example, as a designer behind premiata, not in front ( I think he hasn't done anything with premiata for more than half a decade though ). so it was not like "tom ford for gucci". it was quiet participation.
also apparently there were freelance days before the launch of ccp srl, 1994.
I don't know well about it, but it would not have been wonderful even if he had worked at the atelier of someone else.
and it seems that from 15 he started working part-time for his father, a menswear manufacturer.



thanks for the articles fenrost
didn't know he has gold ones too.

" Die Gewalt des 'eisernen Netzes', des Zeremoniells, des Panzers, Schleiers, Korsetts, der Maske und Grimasse in den früheren Ausführungen, haben wir schon in unseren Schizophreniestudien überall verstehen gelernt aus der Übermacht der aus der Koinonia des Daseins ausgebrochenen Daseinsmacht der Angst über die Macht der Liebe und des Vertrauens "
- ludwig binswanger

violent protection, wrapped in violence, iron net, something ceremonial, armor, veil, corset, mask, and grimace
intense tension with the world
minus more powerful than plus...


mak
lift

 

[softgrey]

i'm posting this here because i don't remember what season it is from...
*i have a terrible memory for numbers...


also, i am not as interested in such things as dates and time...
especially when something is timeless...

 

[fenrost]

not to deviate the 09 thread..

oh my god...!!!...

fenrost...
i always say something like that myself...
*if you can't feel the pain, you can't feel the joy*...

*i think i might be getting another idea for a topic...

or maybe like the following quote:

“Properly speaking, the unconscious is the real psychic; its inner nature is just as unknown to us as the reality of the external world, and it is just as imperfectly reported to us through the data of consciousness as is the external world through the indications of our sensory organs.”
— Sigmund Freud (The Interpretation of Dreams)​

**i guess there's this severe fatality view of Sigmund (although I guess there's more of the resemblance of Freudian theory to Poell..), i think there's an aspect of appreciation shared with my personal view/beliefs (perhaps exaggeration) by the self generated misery opens self fragility and reality part.


anyway..

to the elizabethan collar

src: ?

...

src:dlc.com.au

 

[runner]

carol's work has a tendency that is rather psychologistic than psychological.
as for freud, yes it matters little whether he got it right. but if there is anything relevant here, maybe it is how freud approached it. it's where to look. and there seem to be common points they both paid attention to.
for example, we can see in the ccp collections lots of references from hoffmann's the sandman which freud's the uncanny focused on.
eyeballs, fists, catalepsy (from greek meaning grasp, seizure), "hairy"- ness, "disjointed" body parts, "u-turn" motif (and looping/repetition), idea they called "double", that which lingers on and can never be wiped out completely, etc.
also even a mascot for S/S 06 informally named "sandman" which was really an old training dummy sand bag (russian military surplus) from his private wunderkammer.



mak

 

[runner]

anyway, came here to post these images


S/S 08

 

[runner]

a bigger version of the image posted before in the 2010 thread
and some more from squartter


mak
ccp

 

[fenrost]

i always enjoy reading your post, runner.

his work are always interesting to talk about.

what do you think of the horse?

 

[runner]

the horse in its own whole leather is a symbol of "one-piece" and also a metaphor for "dead-end" ( probably sheer coincidence though, it looks a bit like bruegel's horse on which death is riding ).
oneness as something polar to conflict. it interacts with the separated elements ( e.g. melted silver chain necklace & bracelet ).
death as something polar to life. it interacts with the active elements ( syndactyly/apoptosis gloves).
the horse gives the still of the deserted place an imaginative stir and complements those pieces of ccp armor (1) in sort of a ghost cavalryman way (2), only in your brains, in a vague unity.
on the occasion of the special presentation held later, the horse communicates with the restless vacillation of the pixels, the noise, and the light from the monitor (3).



1

2

3

mak
moviemobsters
ripgrimey
clipart




what I thought at first is that the horse was almost his strange take on the legendary wooden trespasser, such as monsu desiderio's one that stands in the ruins, or gianfilippo usellini's one that causes mythical and historical ripples in the library, etc.

arcadissima.cool.ne.jp
milano.repubblica.it

 

[runner]

the image of continuity, like the sun going into the horizon. a form that is being dissolved or reversely is being developed and bared, like something growing out of the surface, towards isolation.


gauguin's perspective on dead end, just for reference
from his letter to redon, circa 1980

I shall not think of death, I promise you, but on the contrary of eternal life, not death in life, but life in death. in europe, that death with its serpent's tail (redon's death: my irony surpasses all others) is plausible, but in tahiti, death has to be seen with roots that spring flowering back to life.

ccp 09 self-same, from altaroma
going upstream to the dead end, the womb, from fatherstephen
ccp 09 self-same, from mak
ccp 2010 dead end, my scan
rebirth, from bavatuesdays
ccp 2010 dead end, from lift
ccp 2010 dead end, courtesy m
death: my irony surpasses all others, from johncoulthart

 

[runner]

there is seemingly spontaneous failure around the center but also there is playful calculation behind.


- the open seam running spirally through the clipping point, from 09, courtesy centocose
- the jeans he's wearing at the F/W 98 showroom, just for reference, my scans
- rosso, circa 1523, from reproarte
- pontormo, 1525-28, from fiorenkiri

clearing and concealment ( "Lichtung" and "Verbergung" )

 

[runner]

S/S 2002 traditional escape


s.o.s - shake our souls


my scan
mak

 

[Scott]

nice to see a/w 2002 on here...i remember that one vividly. <3

did you already post some of the looks from his 2000 collections? i remember a feature they did on him in paper magazine that i believe i still have amongst all my clippings.

 

[runner]

nice to see a/w 2002 on here...i remember that one vividly. <3

did you already post some of the looks from his 2000 collections? i remember a feature they did on him in paper magazine that i believe i still have amongst all my clippings.

I think there are some posted here and there from those seasons but it would definitely be appreciated if you could post what you have.

 

[eugenius]

CCP press clippings

All in PDF format. Mostly going back to early to mid 00's. Nothing in recent times. Enjoy

http://carolchristianpoell.mak.at/publications/

 

[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?