Julian Roberts Productions (Nothing Nothing etc)

A good story needs a mix of emotions, a mix of characters: an opening credits, clever use of technique, a fight scene, passion/sex, theory/critique, history, special effects, credits & a clever exciting ending.
But it also needs an audience, and I don’t want to exclude anybody by only concentrating on my cutting. You have to look at the bigger picture of my work to understand all my creative flipsides.

But remember: you currently have my attention.
For as long as this lasts (and it will end… cos I like walking away from things) you can ask me anything you like & take my attention wherever you want it to go.
The more I am asked about ‘being a designer/cutter’ the more you will learn about me and my techniques/ ideas.
The more I learn where you are all coming from & going, the more I will learn about myself.
I’m a Teacher, and a Designer, and just a normal person like we all are, on the outskirts of the conversation just listening.

So lets chuck a few spanners in the works & from time to time stop the flow of the conversation to create a different scene/ chapterJ
Just because we can.
Just because this is a thread/blog.
Because in 2006 they have the technology to bring designers ideas straight into the minds of the audience, not just against their skins:)

I’ll continue writing where we left off sometime over the next few days, and I will first be answering the two recent heavyweights of this thread Kathleen Fasanel & softgrey who have between them said some things that really engage my interest, then I’ll say something back to Zazie, Fab_Fifties_Fille & Meg who I think all have great perspectives, finalfashion – you have an open mind, happy holidays!, and then there’s kezzangel, girl?, nextnewface, Hyde Park Lover, brian, mirrra, sea of stitches, yasmin, fireatwill, travolta, strawberry daiquiri, mishahoi, Pastry, kit, nr9dream, evexa, MulletProof, found, meme527, pucci_mama, FuntimePartyTeam, spacemui, *Happiness*,anna_karina, droogist, fashionyork & Tism – I’d really like to hear more from you all again in ’06, and reply to some of your posts… cos you ALL interest me.
Cerfas – we are all but pawns in your mad game!:)

By the way, Happy Christmas & New Year everybody in case you haven’t noticed!!?:) 2006 is gonna be the start of the next new wave...

jX
 
julianroberts_00 said:
But remember: you currently have my attention.
For as long as this lasts (and it will end… cos I like walking away from things)
jX

perfectly understood. I do that too. count me in
 
well..i have to disagree about rei kawakubo of comme des garcons...
not giving back to the industry...
she has essentially given junya watanabe a career and various other designers who started working for her have been successful due to the support given by the company ...
tao is the latest one...

and there have recently been several exhibits in paris of yohji's work...
one of which even had a model of yohji's studio with bolts of fabric, etc...in order to give people a view of what it is like to BE yohji...

Hmm...how does exhibiting one's work or studio showing bolts of fabric reveal anything about one's design or construction method? Isn't a grand exhibition where one's works are placed in the spotlight as "art pieces" meant to inspire awe and is a act of putting oneself on a pedestal? Can anyone really "feel what it is like to be Yohji" by having a peek at his studio, seriously? And why should anyone want that? I love his clothes, but he's not god....

CdG has had huge commercial success and has established a global presence, and rightly, there should be proteges and progenies in fashion's tradition (eg. Yves St Laurent came from Dior, etc). However, she keeps it to a very small inner (Japanese) circle, and has never done any demos either. I have yet to see information out there explaining their method...it'll be great if anyone who comes across can post it.

Sure, a lot of other established designers do that as well, so I'm not saying they are better or worse than anyone else, just that they are not accessible, unlike Julian.

I also don't buy that they don't show anything to the public because of the language barrier, there are interpreters, and creation of fashion is an act which you understand better by watching.

Like I said, I don't blame them for keeping their "trade secrets", they are just behaving normal, I'm saying that Julian is the exception. So please don't infer that I'm putting them down in anyway. They remain on the pedestal, like all the other big names.

Enough for now...I'm tired, and I'm taking a long break. :)
 
I think this thread could be taken into so many different directions...so many new threads could come from the base of this discussion.

I found Yohji's 'Juste Des Vetements' exhibition very much like walking through his mind when it was processing...so I understand softgreys point of 'seeing how it is to BE yohji' the exhibition could have been a bit more raw...so there was more inclusion of the audience within the installations and such like but I felt it was a very interesting way of displaying something; getting to feel the fabrics and some of the finished garments...it's so often the case that designers stick alot of their clothes up on mannequins and just go 'heres my work, please stand behind the barrier'.

Julian I think your mindset reflects the world at the moment, the walk-away, disposable culture we seem to have...picking things up then casting them off when one is bored, I find it's a very interesting way of working, but I couldn't imagine being able to work that way myself...so it's quite hard to follow.

The reason I find the way you do live cutting events admirable is because ...in contradiction to what I've already stated...it's very different for someone to be so free about everything nowadays...everyones striving to get ahead, everyone wants to be better than person x or person y...so giving away any of their methods so freely...with the chance of someone else taking it away and then them making the money, the notable success, the credit for it. Alot of people are too concerned with their own successes, but as you say you measure your own success...thats why you drop things so quickly then pick up something else.

Soft I think I can do that with garments...understand how they're made generally, I'm not sure how that is...perhaps because I'm quite a visual person? I also take it for granted...it's always hard to imagine people can't understand things the same way you do...because we've only ever 'seen' through our eyes...

Like the 'jam idiot' thing...I sometimes feel the more I learn about something the less I feel I know, the more your made to think about a simple situation...the more difficult it becomes. Also a reason why I love how free the cutting for nothing nothing was, whats the point in making something more difficult than it has to be when it doesn't need to be? The accessibilty of it all is great.

Ok, I'm sure I have alot more to say...and I'm not really sure if that even makes sense ^ but I need to go away and think :lol:
 
julianroberts_00 said:
I’d like to know something about who you all are… 1) What designer garments really make you FEEL good?
Comfort-wise I'd say soft and squishy but I like details, nuances. I don't like garments created by the print. To my way of thinking, were the garment to be cut of muslin, it would still be commanding with regard to detail and unusual features. But nothing that would "fight" with me. Something that'd sit there and be it's own self on my body.

2) Who in fashion do you really hate with a vengeance?
Anyone arrogant, or anyone who confuses "success" with acumen or talent. Tommy H comes to mind. Even the coats he wears are cut horribly.


3) What one aspect of the Fashion Industry would you most like advise on or help with understanding?
Actually, I don't understand why fashion is the obsession it is. I don't understand why one's value is measured by how well one dresses. Lastly, I don't understand prima donnas. Why do so many designers think they're so great? Then, why are people so judgmental about fashion? Also, why must a designer be "successful" in order to be considered "great"? Lastly, I really resent the idea of what constitutes success in the first place. That is not my definition.

4) What one question might you ask me about who I am/ my life… if you had the courage, were drunk, or if all these other people weren’t listening in?
You really expect us to put that out here? I definitely have one burning question but it's highly personal. If true, the answer may change everything you know to be true about yourself. It'd still remain true of course but simply placed within parameters of a new conceptual framework.

5) Which designer outside London/ New York/ Paris/ Milan/ Tokyo, and who isn’t stocked by Selfridges/ Harrods/ Browns/ Collette/ Saks/ Barneys etc etc etc would you most like to bring to my attention?
Lol, none. My interest is cutting (here), not designers. I know so many designers personally that as a group they don't interest me much. I have about a thousand designers a day who visit my blog :)

6) Which artist/designer would you champion as showing the way forward for new fashion design?
You, lol.

8) Seed EACH of the following three lists into the right orders from BEST to WORST: i) London, Paris, Tokyo, New York, Milan
Tokyo, Milan, New York, Paris, London

ii) Cut, stitching, fabric, label, style
Cut, stitching, style, fabric, label

iii) fashion, sex, music, food, art.
sex, music, food, fashion, art

9) Tell me where I might take (or stick!) my way of thinking/ techniques/ label?
I'd like to see the red dress concept of rapid development carried through to it's logical conclusion resulting in small lots of collectible fashion. Perhaps constructed by students in ad hoc production. A series thing. All numbered. Die hard collectors would have to have one of each and everything you put out. Fast production, concept to delivery of an entire project in one week. Then you'd rest, play, screw and teach for awhile. Totally doable.

10) Tell me how we might actually work together to make something AMAZING from this information exchange?
I think you need your own space. You'll outgrow us. You need a blog. We need a central location where we can find you even when that means you're hiding from us for awhile. You can't grow -or help us grow either- by camping out on fashion spot's couch as much as we like finding you here. On a blog, you could put your myriad of links in one central location. You could also link and write about things that excite and interest you. You are much more than just "fashion" or cutting.
 
zazie...
that's the media's representation of those designers...
yohji didn't present those exhibits himself...
it's the western world that is so mystified by the far east...
that's who creates the sense of awe...

if you check the thread on the japanese avant garde...
MANY articles and interviews have been posted where they do in fact discuss their methodology...
*but, as with anything else...
you have to look for it if you want to find it...;)

the thing that rei, yohji and issey say over and over again is that they are just doing what they do...
that it's not any 'big deal'...
it's just their honest point of view...
they are very 'down to earth'...

*in many ways i respect this tremendously...
they don't thrust themselves into the spotlight in order to garner attention for themselves and their work...
they let the work speak for itself...
and if it's good...that should be enough...
some will like/understand it, and some won't...
what's wrong with that...?
:flower:...

julian...this one's for you...in order of priority for me
ii) Cut, stitching, fabric, label, style
style, cut(fit-anyone can make adress that looks good on a hanger...but how does it look in real life on a human body in motion?...)/stitching (the same for me=quality/craftsmanship), fabric
*the label is irrelevant...
:)

**i am afraid this thread is going to get seriously out of control and go all over the place...:ermm:...
:lol:...
 
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Julian, i don’t feel like any competent to have a valuable opinion, anyway:):
1) What designer garments really make you FEEL good?
Things which don’t make me feel like a jacket/whatever with legs
2) Who in fashion do you really hate with a vengeance? unhuman stuff, like uncomfortable clothes/shoes/etc done by overly manipulative/marketable purpose
3) What one aspect of the Fashion Industry would you most like advise on or help with understanding? More fun and feedback - less politics
4) What one question might you ask me about who I am/ my life… if you had the courage, were drunk, or if all these other people weren’t listening in? do you enjoy life? –lol, I have to be beyond drunk
5) Which designer outside London/ New York/ Paris/ Milan/ Tokyo, and who isn’t stocked by Selfridges/ Harrods/ Browns/ Collette/ Saks/ Barneys etc etc etc would you most like to bring to my attention? Feel free to try to influence me. I don’t have any adequate overview
6) Which artist/designer would you champion as showing the way forward for new fashion design? You, Issey Myiake with A-POC
7) Post a picture of something you want me to add to/ cut. I’ll post artwork back to you, like the game of ‘Consequences’. Um.. cut it, please
8) Seed EACH of the following three lists into the right orders from BEST to WORST:
i) London, Paris, Tokyo, New York, MilanTokyo, London, New York, Paris, Milan
ii) Cut, stitching, fabric, label, style style, cut, fabric, stitching, label
iii) fashion, sex, music, food, art. fashion, sex, music, food, art
9) Tell me where I might take (or stick!) my way of thinking/ techniques/ label? Keep up going an sharing your vision and thoughts as far as it makes you happy [it’s feelable;]

10) Tell me how we might actually work together to make something AMAZING from this information exchange? I’d love to make your work/vision popular here [Bulgaria]...
 

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the professor is a genius

i have spent the last term battling with pattern cutting..so i made this clever teacher of mine show me how to do it in a way i could understand.so we made a huge pillowcase cut some holes in it and somehow created a dress...and it wasn't a mystery anymore. because of Julian i travel to the States to assist Thomas Mahon of englishcut.com so i have two of the most different and hugely talented pattern cutters to help me get this degree. so i am very lucky and he is a genius, because he'll put up with 70 students' demands and still find something truly inspiring to say...so there's my two-penneth for the julian roberts fanclub!;)
 
Julian, thanks so much for your posts! I too am fascinated with different approaches to teaching and development. I find your non-linear techniques to pattern making perfectly fit for an abstract mind! I would love to hear your other ideas and methods about teaching, and maybe even debate a little cognitive science? If you have time to kill and the patience, I had a little soapbox moment over in the culture, aesthetics and fashion discussion thread about the correlation between Eskimos, dyslexia, artists and lateral thinking. Anyways, I’ve wanted to post for the last couple days, and this is my first chance. I have lots more to say, and I hope it sheds some light on where I’m coming from, and my views on fashion.

1) What designer garments really make you FEEL good?
I don’t really wear designer clothes. If I did I’d probably go with CDG or Issey Miyake’s Pleats Please or A-POC line. I like things a little skewed that I feel I can muck up a bit. A-POC would be perfect because I could just cut and cut and cut… and alter the garment whenever I pleased. Also, long live denim and all its durability. Dry clean only? No thank you.
2) Who in fashion do you really hate with a vengeance? I wish there wasn’t the hierarchy with fashion. It’s incredibly lopsided – all these passionate designers with a lot of fuel and ideas trying to get to that top spot to showcase their vision? It doesn’t make sense to me. I’d love to see a company as large as the Gap turn out

A-POC or pleats please type clothing. Now that would be a challenge, merging the two levels together. More innovation applied to mass produced, affordable clothing. I’m talking carhartt quality, sportswear durability, practicality, clothing built for nomads with a hint of whimsy and open-endedness. Puzzle pieces for the body? Any takers?
3) What one aspect of the Fashion Industry would you most like advise on or help with understanding? How did you manage to get to a point where you feel the freedom you do? I find the fashion industry intimidating, and I would like some tips on how to get one’s work out there and balance $$ and artistic integrity.
4) What one question might you ask me about who I am/ my life… if you had the courage, were drunk, or if all these other people weren’t listening in? What is your favorite flower? I bet you love biology. Also, what were you interested in when you were little – like between the ages five to ten? I would also like you to talk more about your take on Preen, Margiela, and CDG, especially, from a technical point of view and from a business strategy of view.
5) Which designer outside London/ New York/ Paris/ Milan/ Tokyo, and who isn’t stocked by Selfridges/ Harrods/ Browns/ Collette/ Saks/ Barneys etc etc etc would you most like to bring to my attention? Feel free to try to influence me. My friends. I don’t think any of them will actually go into the fashion industry, but maybe that’s why they do fresh stuff. It’s probably not even about the clothes, but it’s more about the fabrics/ color, reappropriation and most importantly humor.
6) Which artist/designer would you champion as showing the way forward for new fashion design? I think I should join you, or be the
Midwest branch of your company/ fashion revolution. What do ya think? Oh, and I agree with Mirra that Issey Miyake with A-POC.
7) Post a picture of something you want me to add to/ cut. I’ll post artwork back to you, like the game of ‘Consequences’. i love the idea of translating different simple mechanics (closures and connections) from objects into clothing or accessories such as junya watanabe did with his f/w 2005 collection with his innovative use with drawstring (reminded me of window blinds) so if you could translate origami or some mutable object such as a telescope or one of those collapsible wire fruit baskets, that would be awesome.
8) Seed EACH of the following three lists into the right orders from BEST to WORST:
i)
London, Paris, Tokyo, New York, MilanTokyo, London/ Paris (it’s a toss up. I like the stuff coming out of Paris more, but the stuff in London doesn’t seem to take itself too seriously) New York, Milan
ii) Cut, stitching, fabric, label, style style/ cut, fabric, stitching, label
iii) fashion, sex, music, food, art. sex, fashion, food, music, art (hedonistic, I know)
9) Tell me where I might take (or stick!) my way of thinking/ techniques/ label?

I think if you post assignments or ‘challenges’ on your website or future blog/ forum you can see where people take it. Get it out there as much as possible.
10) Tell me how we might actually work together to make something AMAZING from this information exchange? Blog/ forum as Kathleen said. Also, you can create projects… maybe monthly and have people submit their results. If it’s truly about creating an information exchange, keep it organic and maybe have sections where people can post their work and thoughts like a bog for each person.
 
mirra, that drawstring bag you posted reminds me of some pieces yohji did.

s/s 2001
00024.L.JPG


00079.L.JPG


firstview
 
fab_fifties_fille said:
Julian I think your mindset reflects the world at the moment, the walk-away, disposable culture we seem to have...picking things up then casting them off when one is bored, I find it's a very interesting way of working, but I couldn't imagine being able to work that way myself...so it's quite hard to follow.

:lol:

i think rei kawakubo has the same approach to fashion. that's why she's sitting pretty where she is. the disposability factor is inherent to fashion, and that's why it's incredibly holistic. maybe it comes down to a non-linear thinking (success not in the outcomes, but in the various avenues to get there) which when applied to a frentic industry such as fashion it's probably the healthiest perspective to have. it's not putting all the eggs in one basket, so to speak. ;P
 
finalfashion said:
As I was cutting I realized that I could cut a random, irregular shape, freehand, from two layers, rotate one of the layers X degrees and create a random volume for a little bag...

By request, my miniseries of small leather bags.

first, a tennis ball sort of design... ho hum...
78246250_619270793c_o.jpg

Two figure-eight type of shapes, one rotated 90 degrees.

kind of cute...
78246251_0faa245702_o.jpg

Two squares, one rotated 45 degrees.

picture doesn't do it justice, and I didn't get a good angle... woops..
78246249_c9360844d6_o.jpg

Irregular shape twith three odd knobs, one rotated a random twist. Peculiar random volume, very interesting to turn around. I gave it to my aunt:)

(the machine I did it on, a gift, pre-assembly, 1926 singer leatherworker)
70652141_b97686db42_m.jpg
 
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Wow! coolest internet quiz. ever.

julianroberts_00 said:
1) What designer garments really make you FEEL good?
What I make for myself. In my own clothes I can be as extreme as I want.

julianroberts_00 said:
2) Who in fashion do you really hate with a vengeance?
That's hard, Julian, but it's the way that it takes advantage of the people who work in it, from wal-mart employees right up to supermodels it's an industry that tends to eat it's young. It's another rotton corrupt industry like all the rest, and like every industry, there are a fair amount of jerks and deluded people... but there are some extremely awesome people as well. Not everyone is uncaring.

julianroberts_00 said:
3) What one aspect of the Fashion Industry would you most like advise on or help with understanding?
Why it persists in being old fashioned. Why we are still watching fashion shows? Why there is so little questioning of why things are the way they are? Why still only two seasons? Why work ahead, why not design for right now? Why still excluding, not including?

julianroberts_00 said:
4) What one question might you ask me about who I am/ my life… if you had the courage, were drunk, or if all these other people weren’t listening in?
If you had to pick only one... professor or designer?

julianroberts_00 said:
6) Which artist/designer would you champion as showing the way forward for new fashion design?
All ways are going forward. Going backwards is going forwards. I'm not sure which is the best way yet. I'll have to see who is still standing after a few years. There are the trends that designers put out there, and then there are the actual trends of what people wear. I find it all interesting.

julianroberts_00 said:
7) Post a picture of something you want me to add to/ cut. I’ll post artwork back to you, like the game of ‘Consequences’.
I'm not sure what you mean, but feel free to use the images in the last post if you want:)

julianroberts_00 said:
8) Seed EACH of the following three lists into the right orders from BEST to WORST: i) London, Paris, Tokyo, New York, Milan ii) Cut, stitching, fabric, label, style iii) fashion, sex, music, food, art.

i) never been to any of these places... can't really rank them.
ii)Cut (which I measure by Fit, an X-factor..)...
fabric (colour, Feel)
style (comfortable, useful, makes me feel good X factor)
stitching (solid, will withstand careless wear and washing)
label (which I always read...)

i)fashion ii)sex iii)art iv)music v)food

julianroberts_00 said:
9) Tell me where I might take (or stick!) my way of thinking/ techniques/ label?
I think a pattern is justified by the final garment, not the reverse, if you get my drift. Sometimes your clothes are just walking patterns, and while interesting does not strike me as something I want to wear. I am more interested in clothing that is more functioning and wearable. That's my personal preference, these days anyways:)

julianroberts_00 said:
10) Tell me how we might actually work together to make something AMAZING from this information exchange?
Consider me amazed. Wherever it goes will be interesting.
 
Happy New Year, everyone.:flower:

1) What designer garments really make you FEEL good?
I'm one of those who care more about looking good (i.e., interesting, sexy, unusual) than feeling good. I'd even worn life-strangling corsets.


3) What one aspect of the Fashion Industry would you most like advise on or help with understanding?
Haha..how to make a profit. Seriously, what are new ideas and techniques to explore.

4) What one question might you ask me about who I am/ my life… if you had the courage, were drunk, or if all these other people weren’t listening in?
What are your greatest fears?

7) Post a picture of something you want me to add to/ cut. I’ll post artwork back to you, like the game of ‘Consequences’.

Here are a couple of "challenges" :):

a) What can one do to a bolt of kimono silk fabric that measures approx. 30cmx8metres?
b) Make a washable garment that's composed of different materials, not all of them cloth, with chains, jewellery, umbrella pelts, etc. that is part of the construction.


8) Seed EACH of the following three lists into the right orders from BEST to WORST: i) London, Paris, Tokyo, New York, Milan
Paris, London, Tokyo, Milan, New York

ii) Cut, stitching, fabric, label, style
Cut, fabric, stitching, style, label

iii) fashion, sex, music, food, art.
Sex, art, music, food, fashion

9) Tell me where I might take (or stick!) my way of thinking/ techniques/ label?
Go "Freitag", like the Freitag bags...i.e. make it an accessible, affordable customisation service.
 
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Can I ask 2 questions? Are clothes from Parc des Expositions available for buying by the general public, and if so, where? And what's Sophie's role in that label and what sort of thing does she do?
 
It is quite incredible that this thread has had the depth of conversation that it holds. I have never heard of the work of NOthing Nothing and Julian sophie. I am so happy I have come to read about and view your work. Im very much inspired more then ever from reading your statements Julian, Thank you for that. Thank you for breaking this boundary of designer=unreachable celebrity by speaking with us here . You are a true artist for sharing your insights and knowledge and speaking to us in this forum.
I have to give my two sense of your demo video here now..
I loved it. I love its content, editing and textures. I am actually in the process of editing a film that was produced at my last collections photo shoot (www.thisoldthing.net ) and I was excited to see your work with film and fashion. It mirrors your talent with cutting and fashion. Your creativness is boundless and your teachings are unique an appreciated. thank you.
 
simply loved the JULIAN & SOPHIE phase and the hotel room show..
should reply the questionaire soon
 
Happy 2006 everyone!
Excuse me whilst i offload a load of my responses :)

How to make Profit?
Profit isn’t so hard to make – but if you want to make a creatively challenging product, you need to remove the costs of your own labour. A creative person often cannot stop themselves putting all their time & energy & skills into making a product, but I cannot afford an employee with such obsessiveness(!) & who isn’t constrained by the projects budget: so I earn my living from outside my brand (teaching, creative direction, show production, etc).
That way my wage/living isn’t linked to the success/failure of my products.
That way I am free to do whatever I have to do without incurring my brand any costs.
Profit rises or falls therefore on how good an idea is, at a particular moment in time.
Being profitable in fashion is as much about finding the right moment in time to launch a product or make a statement, as it is about finding the right product to launch. The two cannot be separated.
The best way to make a consistent profit is to keep your costs low, to spend only what is absolutely necessary, to be resourceful, to not be distracted by praise or criticism, to show only when you want to show, to only make the products that really mean something to you, to limit or refuse orders that destabilize your production capabilities, to think 3 seasons ahead (not 2), and to invest your knowledge & skills in other peoples projects too – preferably those with bigger budgets than your own brand:)
You have to believe in other peoples success as much as your own.
You cannot limit your thinking/design to only within your own product.
Lastly, to put my cards on the table, I haven’t been made rich being a designer, but I have sustained myself for 13 seasons and had a fantastic time doing so. I don’t plan to ever stop, I do plan to expand & grow, to work with some big companies on projects that interest me, and if I can sustain this all while providing myself with food, shelter & travel then I’m HAPPY:)
I’m more interested in sustaining Turnover.
There is a lot of money to be made in the fashion entertainment industry, but it doesn’t all have to be channelled into one place... money is fluid, it changes hands, it’s a system, sometimes you lose, sometimes you gain. It’s how you spend it that’s important, not how much you keep of it.
Opening a big shop with lots of advertising budget might be a profitable move for a big retailer, but not if the retail sector happens to be in decline & people are saving/ shopping online for bargains. Nothing is profitable forever, and rarely is something profitable in isolation.

What’s my greatest fear?
Being cured.
Being made normal against my better judgement.
Finding an antidote to my restlessness.
 
finalfashion said:
If you had to pick only one... professor or designer?

All ways are going forward. Going backwards is going forwards. I'm not sure which is the best way yet. I'll have to see who is still standing after a few years. There are the trends that designers put out there, and then there are the actual trends of what people wear. I find it all interesting.

I think a pattern is justified by the final garment, not the reverse, if you get my drift. Sometimes your clothes are just walking patterns, and while interesting does not strike me as something I want to wear. I am more interested in clothing that is more functioning and wearable. That's my personal preference, these days anyways:)

Professor or Designer?
Designer… I hate the title of Professor:)

I like your answers a lot:)
Though the statement “All ways are going forwards. Going backwards is going Forwards.” is fatalistic, only true by virtue of good fortune, and doesn’t sound like a plan.
I know you mean it in a positive way, because you believe in the future and are being positive & trusting.
Personally, I feel the future has to be designed, made better & changed, because history teaches us that great civilizations both rise & fall. I wouldn’t ever take progress for granted therefore.
You’re right, some of my clothes are walking patterns, in fact I might as well answer all my critics in one fowl swoop: I have had an obsession with cutting, and have in the past made some of my discoveries very central to the style of the garment. In many ways, some of the garments I have made are simply the pattern & nothing else… at least not to me. When you work at a technical level in a highly obsessive way, it is the inside of the garment - the patterns, seams & stitches - that hold your attention. If you are a male designer creating womenswear & have no direct connection with how the garment functions on a practical level, then it’s easy to become self-obsessive & forget to stand backwards. You get to know the garments you make intimately as they slowly construct, and at the last moment just before the lining is closed you kiss goodbye to them & they suddenly becomes finished… but this finished state is not how you recognize them… they becomes products, they are photographed, presented & displayed, they then become an image & people are never really interested in asking how they were actually made. In fashion, most people are more interested in who’s wearing it, what party it is being worn too & how they can get hold of it at sample sale price. Of course I now spend a lot more time with fittings & prototypes, & now spend a lot less time obsessing about the inner workings of the garment, and a lot more time getting to know it as a garment on a girl… but in the past when I was first starting out and for many seasons until quite recently, I was living on the bread line and working on shoe-string budgets, and I didn’t give a damn whether the pattern was over-dominating the garment: of course it was, because THE PATTERN WAS ME… it revealed my thinking, my actions, my hands, my movements, my personality as a designer… frozen within the garment for all to see. Of course I have often made mistakes. If you stick your neck out, experiment & try out new techniques then mistakes are absolutely necessary. I look back at a lot of my old work with embarrassment. You never stop learning. Another thing you must know is that I do not consider myself a ‘good cutter’. I am a fluent cutter, I cut and make things quite instinctively, and I like to try out new things… some of which lead me nowhere. I have to be quite wasteful, make mistakes & take risks, because I am trying to find something. I don’t know exactly what it is, but slowly step-by-step I get closer. My understanding & knowledge grows. I don’t only use my own techniques to make garments, I mix them with traditional skills. The Subtraction Method is only good for making certain garments. But having developed it as a way of working it has changed the way I approach both tailoring and traditional cutting. In some ways it has ruined my concentration, because some forms of cutting do require exactness & respect, and when I work with other cutters I know I frustrate them because they think I don’t care for the rules. I do care & I need to show that I care. Future collections will be more mindful, there will of course be extremity & experimentation, but it will be balanced carefully against what looks good on a girl (I now seek a lot of female advice when I cut womenswear because I need to know how the garment feels, both physically and emotionally), and how the garment shape works with the fabric & textiles. When you are a new designer seeking attention it’s easy to get swept along with the whole carnival of the fashion spectacle, and when your budget is next to nothing & you’re living like a bum you’re more inclined to chuck in everything but the kitchen sink, and not care much for refinement. I now feel a much better designer than I have so far demonstrated, though of course my future work will rise or fall depending on who buys it, who writes about it & how it is received by the fashion world.
 

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