Flick Hall AW 2011 by Charlotte Hoyle.
When I was shown Flik Hall’s new A/W 2011 collection The Ghost in the Machine at Blow PR the other day I was so happy to discover that she has commissioned two regular contributors from Amelia’s Magazine to create some wonderful promotional fashion illustrations. Featuring dramatic shapes in unusual materials and some intriguing prints, here’s what Flik Hall has to say about her creative process, and her decision to work with illustrators.
Tell me about your new A/W 2011 Ghost in the Machine collection in five words:
Distinctive, Other worldly, Sharp, Robotic, Conscious.
Distinctive, Other worldly, Sharp, Robotic, Conscious.
Why are you so attracted to sharp shapes and intriguing fabric mixes?
Sharp shapes just seemed to go hand in hand with the print inspiration for the collection; I would say the print directed the shapes. I love finding out how the most unexpected high octane materials work together in extraordinary ways. I find it interesting to work with materials that are unorthodox or foreign, those perhaps with a purpose more commonly associated with something other than clothing, or materials that we don’t get to see used very often. It’s more exciting because it’s about discovery and the unfamiliar. I love to choose fabrics that would be perceived as awkward together on conception, but combined in a configured way really work. I suppose it’s about finding fabrics closed to what I want to represent, but I may not be able to with classic fabrics all of the time.
How did you create the prints, and why do you love print so much?
I created the print from bird’s eye images taken from aeroplanes of the world. In particular I looked at aspects that show regularity conversant of human control and the society we have created. The print was taken directly from an image, the straight lines were actually roads, pyramids are the roof tops of houses in endless rows that all join up together. I loved the perspective the lines created and worked with this to create my print. I wanted the end result to look almost like exuberant coloured jewels, a fantasy I suppose, but to retain that repetitive aspect mimicking a view from above, of our totally mechanical existence.
What inspired the look?
I was initially inspired by Simon Blackburn’s book Think: A Compelling Introduction to Philosophy which covers different opinions on Free Will and the arguments used to justify these view points. I was particularly interested in Gilbert Ryle’s theory where the metaphor ‘the ghost in the machine’ is used to denote our consciousness inside our body – the machine. I am interested in questions such as: ‘How much of the past controls the future?’ and ‘Is the universe no more than a chain of events following one another according to the law of cause and effect?’ Finally, if the universe consists of a series of events stretched across a period of time there must have been a beginning, and another force or being outside it must have caused that beginning. I am not stating through my work that I think this is the case, there is too much to take into account – but it’s an exploration of possibilities.
I’d love to know why you made a decision to use illustrators to show your new collection. Why did you decide to do this and how did it come about?
First of all I was intrigued to see how someone else perceived my collection visually. I wanted to have a second visual representation of the collection and I felt that the structure and variation in my A/W 2011 collection would look particularly good when illustrated by these artists.
Flick Hall AW 2011 by Rebecca Strickson.
Why did you decide to work with the two illustrators that you have chosen? What was it about their work that especially appealed to you?
I came across both Charlotte Hoyle and Rebecca Strickson’s work on Amelia’s Magazine – I came across Charlotte’s work first and loved how the figures she draws look almost like stone statues, existing independently of their background. I feel that style should express how we feel, rather than be changed to suit a certain occasion. For me Charlotte’s work embodies a separation between the two, creating a feeling of independence and freedom that I hope to create within the collection.
When I found Rebecca’s work I particularly like a section of her work named Rubbish Doll House… I really liked the texture she had worked into her illustrations, one of a girl with rams horns looked amazing with so much attention to detail and delicate lines encasing the image. I imagined her style would translate well onto the intricate fabrics in the collection.
What next?
At the moment, I am focusing on my strengths in using certain materials and reinterpreting how they can be used and each season the collections will grow steadily. I like to introduce new things but sometimes the leap of what I’m inspired by each season is enough; I don’t want to over complicate things. I am very keen to branch out into other products such as accessories and shoes but not in a rush, just when it feels right but I would like to keep the business fairly small and exclusive. I like the idea of doing a show, but I don’t feel it is the only system to market a label and I am interested in finding other ways to promote the collections to press and buyers alike.
Flick Hall AW 2011 by Rebecca Strickson.
Check out Flik Hall online. Here’s hoping for many more inspiring fashion designer/illustrator collaborations! Just beautiful.
No comments:
Post a Comment