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Sedna: an Inuit Goddess

In Inuit mythology, Sedna (Inuktitut Sanna, ᓴᓐᓇ) is the goddess of the sea and marine animals such as seals. A creation myth, the story of Sedna shows how she came to rule over Adlivun, the Inuit underworld.
A number of versions of the Sedna legend exist. In one legend Sedna is a giant, the daughter of the creator-god Anguta, with a great hunger that causes her to attack her parents. Angered, Anguta takes her out to sea and throws her over the side of his kayak. As she clings to the sides, he chops off her fingers and she sinks to the underworld, becoming the ruler of the monsters of the deep. Her huge fingers become the seals, walrus and whales hunted by the Inuit.
-Wikipedia

The skeleton of Sedna is depicted in the work with techniques inspired by carvings in Ivory from the Inuit tupilak figures. The human side of Sedna shows a more vivid figure expressed through the patterns and fringes covering the garments. Silhouettes inspired by Victorian menswear contribute to the atmosphere of the horrendous story.
-Coute Que Coute

Creation Story. Myth. Underworld. Immortal. Gods. Transformation. Undead. Curse. Cultural Artifact. Corrupted Human Form.

 

http://www.annesofiemadsen.com/

A Colour Story

Black and White and Green

Damir Doma pop up shop captured by http://www.garbagedress.com/

Prabal Gurung AW 2012 + Thoughts on Inspiration

Three seemingly unassociated but equally romantic works—Jan van Eyck’s haunting, religious oil paintings, Georgia O’Keeffe’s famed image of an ethereal, decaying cow skull, and a genetically engineered blue rose were pulled together by the designer into one achingly amorous theme. “I was inspired by the process of creating something new. Part of it was the uncursing of the rose and part of it was spiritual,” explains Gurung. 
-Vogue.com

Always always finding the process of inspiration fascinating. Thinking about it, it would appear that there are three main motivations for design: a woman in a narrative, an object, and for the sake of the garments themselves. 

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Some collections are designed for a specific person. That collection can tell a story, and the onlooker understands who the woman is. Inspiration may come from a film, a historical person, a celebrity, a book. There is a story. There is a person. Styling, hair and make-up drive home the point. Story tellers: McQueen, Galliano, Dsquared2.

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Other collections are less obviously created for one woman. They may lack a narrative, and the identity of their woman is less clear. These collections are inspired from everything else in the world: art, photography, architecture, nature, objects, and so on. They look for ideas outside of the fashion world and transform them into clothing. Prabal Gurung is today's example.

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Finally, there are clothes that are designed to be clothes. They are functional and practical and don't have an elaborate back story that explains their creation. They are designed to fit a need, to be comfortable, to be flattering, to fill a void, to fit a budget, to save on wasted scrap fabric. Less exciting perhaps, but it's no less noble than the other inspirations - just more to the point.

Gurung Moodboard http://www.vogue.com/collections/fall-2012-rtw/prabal-gurung/preview/#

http://www.vogue.co.uk/fashion/autumn-winter-2012/ready-to-wear/prabal-gurung

A Collection Name

Thinking about inspiration and giving it a name. Labeling garments for archival purposes. History is important.

inside label of a Rick Owens cardigan

page of the Rick Owens book listing his collections' names

McQueen Dress for Givenchy Process

Totally didn't realize that there were patterns available from Vogue when McQueen was designing for Givenchy. Upon discovery, a mad flurry of frantic research ensued ending with a trip to this blog: http://blog.pattern-vault.com/alexander-mcqueen-series/ All McQueen x Givenchy collaborations are accounted for.
Two designs are loved above the rest. Here's the favourite. Always love for asymmetry and tailoring. Production commences. Using a linen-cotton blend... might not be the best choice, but it was at hand. Goal: finish cutting this week.

McQueen Kimono Top Final

Finished version of the Alexander McQueen Kimono top found here. Striped twill fabric from Lida Baday. Composition: 60% polyester, 40% silk. 160cm wide; 1.7 metres used, 0.7 of a metre just for sleeves.

Progress pics of front sections. Flounce added to front for improved fit.

Front and back finished and collar applied. Very happy with the sleeveless look. Figuring it would take about one metre of 160cm wide fabric to make again. Shot of inside. Black fabric on inside is interfacing. All raw edges are serged out of laziness. Probably should have been bias bound. 

Finished top with sleeves in natural light. Very happy with results. In the end, it wasn't too difficult to finish. It was important to read the instructions and make notes on the pattern pieces. Trials in muslin are necessary to teach oneself how to understand the pattern. It was a personal choice to omit a step or two, and the instructions do not appear to be 100% complete. Definitely going to make this again though.
Thought a lot about McQueen while making this. Is it part of the mourning process? Thought: the world doesn't get to experience anything new from the man. It's over. Everything he had to offer is already out there. That said, his work is for the wealthy few. Take what you can and keep learning and pushing forward.