It was 1994 when Hussein Chalayan, graduate from Central Saint Martin in London decided to debut in fashion by launching her label with an original design and (possibly) disturbing: he presented a collection of clothes for three months buried in a garden and therefore had tissue is completely disrupted in color and texture of the ground caused by oxidation and moisture.
It's been 17 years since that debut and Paris devotes a solo show at Les Arts Decoratifs museum, which opens July 5 to coincide with the release of his first monograph Hussein Chalayan (Rizzoli, NY) prepared by the designer himself, and in the days Haute Couture. The exhibition celebrates the diverse talents of the designer greek issues through installations spread over two levels: the first exposes the collections more closely related to his universe of thought and his reflections on current (including After Words, designed during the Kosovo conflict and inspired by the precarious condition of the exiles and, more generally, that, too intellectual, modern man), the second focusing on his passion for physical movement and mechanics as applied to dynamic fashion.
The exhibition is a series of emotional and intellectual input, and switching from plasma screens and LED flashing photographers to the designer of childhood, spent between Nicosia and London as a result of their parents' divorce and his father was transferred to Great Britain, which mark important stages of maturation also designer of the designer who has often stated that his background and his roots are an essential part of his work.
Cartesian philosophy, meteorology, Japanese culture and the German fairy tales are all points of inspiration from which to draw the Chalayan dresses often dreamlike and experimental, often on the border with art (the critic Andrew Graham Dixon has defined its creations "the closest thing to contemporary art that exists at the time") with which the designer is often compared, both during his college years that within his own label, often choosing unusual shapes such as films and installations to present collections, however, never leave aside the commercial aspect: "People think that originality and marketing does not go hand in hand within my brand but has a bias, I realize you can wear only clothes that really."
It's been 17 years since that debut and Paris devotes a solo show at Les Arts Decoratifs museum, which opens July 5 to coincide with the release of his first monograph Hussein Chalayan (Rizzoli, NY) prepared by the designer himself, and in the days Haute Couture. The exhibition celebrates the diverse talents of the designer greek issues through installations spread over two levels: the first exposes the collections more closely related to his universe of thought and his reflections on current (including After Words, designed during the Kosovo conflict and inspired by the precarious condition of the exiles and, more generally, that, too intellectual, modern man), the second focusing on his passion for physical movement and mechanics as applied to dynamic fashion.
The exhibition is a series of emotional and intellectual input, and switching from plasma screens and LED flashing photographers to the designer of childhood, spent between Nicosia and London as a result of their parents' divorce and his father was transferred to Great Britain, which mark important stages of maturation also designer of the designer who has often stated that his background and his roots are an essential part of his work.
Cartesian philosophy, meteorology, Japanese culture and the German fairy tales are all points of inspiration from which to draw the Chalayan dresses often dreamlike and experimental, often on the border with art (the critic Andrew Graham Dixon has defined its creations "the closest thing to contemporary art that exists at the time") with which the designer is often compared, both during his college years that within his own label, often choosing unusual shapes such as films and installations to present collections, however, never leave aside the commercial aspect: "People think that originality and marketing does not go hand in hand within my brand but has a bias, I realize you can wear only clothes that really."
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