thirst follow


Costanza Chia

  1. Summer Artwork

    this work is the realest work I’ve ever accomplished

  2. magictransistor:

'These Are The Days My Friends' : OZ Magazine (September, 1968)
  3. baltimorehorses:

The Seven Stone Weakling - David Hockney (Part of A Rake’s Progress)
  4. qurty:

Sir Sidney Nolan
The Encounter
  5. elisemesner:

Melon feast for @digsapparel #amelonaday (at e l i s e m e s n e r . c o m)
  6. dekonstruktivisme:

Anke Loh autumn—winter 2001—02.
Taboo, geographic, moralistic, sexual, gender specific, on a metaphorical and local level, different for men than for women, put together in a new way, longing for idyllic love, not voyeuristic, relationship between couples.
The presentation of this collection ‘Unter der Gürtelinie’ / ‘Below the belt’ took place in the bright underground hallway of the Centre Pompidou, where the glass elevators were an indispensable part of the spectacle. As the spectators were standing scattered over the room, the elevators started moving, carrying the male and female models downstairs.
With this concept, Anke Loh created a kind of physical (auditive) proximity between the spectators and the spectacle, without however crossing the boundaries of actual physical contact. The interaction with the crowd created a unique personal attraction on a metaphorical and local level giving the collection a more personal dimension.
Some of the models were equipped with small speakers attached to a minidisk, which they were holding in their hands. While mingling in the crowd, the spectators could hear the music coming out of the models’ speakers. Also several microphones were spread over the entire space and when approaching one of them, the models’ music was broadcast over the main speakers creating a bizarre mix of ongoing background music and musical fragments.
© Anke Loh Press Archives.
  7. dekonstruktivisme:

Dirk Van Saene autumn—winter 1998—99.
He renamed his Fake Tailoring collection for Winter 1998—1999 the Black Sissi collection for his catalogue, and had the garments photographed on a black dummy, against the gemütlich decor of the Austrian Alps. 
Anyone looking for some fixed, logical development in his sequence of collections will not find it. Some samples of the ‘Van Saene Variations’: in theFake Tailoring collection lapels and collars had seams and separate pattern sections worked into the clothing. These sober and elegant ‘etched’ pieces had been preceded a season earlier by a hectic Transformations collection (Summer 1998), in which nothing was what it seemed, each item could be transformed into something else or worn in very different ways. During the show, the ‘transformation ‘of the models did not take place behind the scenes: they were dressed, made up, had their hair done, on the runway, in full view of the public. 
Dirk Van Saene: I base my collections on craftsmanship. I use the wildest ideas to put craftsmanship to the test. When I’m finalising my prototypes I’m constantly faced by technical problems. I’m always searching for the best solution. It might be very traditional but could be something completely new. It doesn’t matter a bit. It’s the result that counts.