Bridge 5 Reflection

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I am Joey majoring in Fashion Design. My first year at Parson has flown by and I still feel really grateful and lucky to be there. The culture here is vibrant and we are always encouraged to express ourselves rather than following the majority.

 

When I was five years old, I made clothes for Barbie dolls and decided that I would be a fashion designer. We can only live our lives once, and I don’t want to cry on a future night regretting that I haven’t followed my passion. That’s why I came here. As I grew up I also developed other interests in the creative fields, such as music, composition, oil painting, photography and literature. I believed that most art forms are inter-related and a good artist shouldn’t be restricted in one field.

 

During my first year at Parsons, I explored more possibilities in the art world and got a better sense about what I liked and what I could do well. My high school didn’t have much work so the workload of Parsons shocked me initially. However, since I was doing something I enjoyed and believed to be meaningful, I soon accepted the workload and gradually started to enjoy the busy feeling. The themes for my artwork vary a lot, but I found that most of them are related to something I was engaged in for a long time or some childhood fascination. I also learnt a lot of skills and working methods that I could use in different courses. For example, I used the research skills from Integrative Seminar when I was writing a paper for Art History; I also used the Adobe Illustrator skills from Drawing and Imaging when I was creating a poster for Integrative Studio. In addition, I also learnt a lot from my classmates and friends. They were all truly creative people and were full of imagination and emotion. They inspired me to always break the norms and think outside the box. What made a project/paper interesting? In my opinion, as long as we were allowed to do it the way we wanted to. It is always interesting to see different, unique approaches to one theme.

 

One highlight from my first year is the Dystopia Trailer I created for Integrative Studio 1 with Alexa and Madeline. It was a complex group project. We were asked to create a completely original dystopia, make a set of tarot cards about it and made a video to demonstrate it. For ours, we created a society where everyone is infused with bugs. Some selfish people keep them gently infused with insects and have perfectly immunity, while other people became human vessels of bug swarms. We played with creepy makeup ideas and experimented with weird sounds such as mac and cheese and noodle sounds. The outcome is kind of cool and creepy in a good way. I got a lot of inspiration from this project because we were building something out of nothing.

 

Another highlight is the final project for my Integrative Studio & Seminar 2. It was an open project and we were asked to make anything and write a scholarly paper based on a theme we were interested in. For Studio, I did a collection inspired by a series of classical composers including Mozart, Chopin, Beethoven, Liszt and Debussy. For Seminar, I wrote a paper about rock in fashion featuring some rock musicians such as John Lennon, David Bowie and Jimmy Page. I wish I could have more time to polish my pieces and I felt that the relationship of fashion and music was truly eternal. The process was a lot of fun and I learnt about how to design based on technical restriction. At first, I tried to make a dress with velvet and chiffon with a lot of metal chains as connection. As a beginner in sewing, I then realized that chiffon was super slippery to sew and it couldn’t provide enough support to the metal chain. So I ended up changing my design while keeping parts of the ideas. I really loved the results and felt happy that I could do something related to my heart.

Moving forward, I wanted to keep doing some designs related to my interests such as the integrative studio & seminar projects. I was also planning to make a public platform to showcase the works from some brilliant young artists in different areas. Because I had friends who had to quit the school because they couldn’t pay for the tuition, and I also had some artist friends who were truly talented but lived in poverty. I think there should be a way to connect art and the market better, and I will keep working on this.

Storyboard

My paper is called The Chemistry Between Fashion and Music. I explore how the combination of fashion and music is a powerful tool to promote a cultural movement or lifestyle and how fashion designers and musicians influence each other. I especially focus on some fashion collections inspired by rock music.

Integrative Seminar 2: Bridge 2 Analysis of the Pillola Suite of Lamps

Joey Huaiyu Dong

Professor Eric Wilson

PUFY 1011 Int. Seminar 2: Fashion

22 February 2017

Analysis of the Pillola Suite of Lamps

When I first came across the “Energizing the Everyday” exhibition at the Cooper Hewitt Museum, the Pillola Suite of Lamps immediately intrigued me. This exhibition consists of gifts from the George R. Kravis II Collection. It mainly showcases day-to-day objects with great design that enhances people’s lives at home, workplace, as well as during travel and leisure. The objects are organized in various groups, according to their theme, time period, and materials. Together as a whole, a strong connection across time and geography is well demonstrated. We can clearly see how design and technology enhance the society to move forward and improve people’s lives.

The suite contains five lamps in total. The lamps all have the same oblong shape of prescription pill while they are much bigger than life-size. The upper parts of the lamps are white, while the lower parts have different bold, saturated colors: yellow, red, blue, emerald green and white. The lamps are fully covered by a layer of thin, transparent ABS plastic and acrylic and all have a small, transparent base made of plastic as well. The plastic material on the surface demonstrates a beautiful smooth and reflective quality, and creates a beautiful light outline for the shadow. In the exhibition, the lamps were bent in different angles and were casting rhythmic shadows of varying levels of darkness. According to the captions in the museum, these angles demonstrated the haphazard look of pills accidentally dropped. There is a vertical line made up of little circles on the lamps and a white cord attached to each lamp. The suite is innovative, clean and undeniably elegant.

One big question that I had when looking at this object was whether it was designed for home use or just for display. For this essay, I imagine that it is placed in a home in the late 1960s. The owner is probably a white male among the affluent or middle class youth. He is from Italy since I pick 1960s when the suite of lamps first came out.  He probably loves hippie culture, is not a main-stream person at that time and is proud of being different. He is ironic about consumerism and the mass produced modernism design and was very interested in the “anti-design movement”. He listened to the Beetles, took drugs and embraced the old slogan of free love and sex.

In my opinion, this suite of lamps is very important in the owner’s house. On one hand, it functions as lamps and is used on a daily basis; on the other hand, it also symbolizes the belief against consumerism and the design norms of the owner. These lamps are representative of Italy’s anti-design movement from of the mid-1960s and 1970s. According to Sparke, the anti-design movement is a protest against the design formalism which characterized the Italian design movement in the early 1960s.[1] It is a post-modern critique of modernism. As Martland analyzed, “When modernism became established and henceforth the new generation of artists considered it to be ‘academic’”[2] .The designers of these lamps, C. Emanuele Ponzio and Casare Casati, are clearly among this “new generation of artists”. And the suite of lamps must also be placed in the home where the owner is bored with the “beautiful” modern design of dull colors. Because the original idea of modern design gradually became a marketing tool in Italy. Object were mass produced for mass consumption for mass media. “Anti design” movement was among the post modernism range and was idealistic and ironic at the same time. This suite of lamps demonstrates the features of anti design very well.

The pills are extremely oversized which links to the ironic scale distortion of anti design. The design shows a deliberate “bad taste” by its straight forward pill look and minimalistic elements. There is barely anything other than the necessary base and cord attached to the lamps. The color palette is also bold and striking. While modernism embraced dull colors which mainly consists of black, white and grey, post modernism usually go with emphasized saturated colors in order to show the opposition.

Another important thing I noticed is the design focus: drugs. The designers were apparently trying to address some social issues rather than focusing solely on the pure functional value of the lamps. The imagined owner of the lamps might be a drug addict or super into the rebellious mystical hallucination of drugs. In 1960s, drugs (marijuana, LSD and other recreational drugs) forms an important sub culture. It was a time when the typical bad connotations of drugs are shifted towards the middle. Drug abuse became extremely popular among psychedelic rock musicians such as Pink Floyd and the Beetles. Many people at that time are unaware of the danger of drugs. In my opinion, this Pillola Suite of Lamps is criticizing people’s dangerous fantasy towards drugs. However, it might be portrayed as a celebration of drug hallucination by its owner at that time. It is very ironic to imagine a hippie drug addict was staring at the lamps, feeling proud of its unique appearance, while the designers were actually trying to criticize him. In addition, this suite is also culturally channeled to other pill inspired pop artwork including works of Claes Oldenburg and Andy Warhol. They all depicted pills in an oversized, humorous and sarcastic way.

To conclude, the Pillola Suite of Lamps was important in its cultural context and demonstrated both functions and symbolism. It showed support to the anti-design movement against consumerism and the design norms in Italy and ironic attitude towards the drug subculture.

Bibliography

  1. 1. Sparke, Penny. “The Straw Donkey: Tourist Kitsch or Proto-Design? Craft and Design in Italy, 1945-1960.” Journal of Design History11, no. 1 (1998): 59-69. http://www.jstor.org/stable/1316163.
  2. Martland, T. R. “Post-Modernism: Or What’s Become of Us, Tarzan?” The Antioch Review49, no. 4 (1991): 587-98. doi:10.2307/4612467.

 

 

Bridge 2, Context, Final Piece

I created a painting using acrylic for Bridge two. The inspiration of this painting came from the Pillola Suite of Lamps in the Cooper Hewitt Museum.

There is a ballerina dancing with the lamps. She is in the center and her arms and legs are tied up like a puppet. The lamps are lightened up and the light were represented by abstract swirls. I used a palette knife to paint  this in order to create a thick texture and undiluted color effect. I also juxtaposed some Roy Lichtenstein’s speech bubbles at the connection of the cord and the lamps.

The bright color and the collaged speech bubbles help to relate to the time period, which is 1960s. I chose a woman as the central figure because its a time when women started to protest for their rights. The dancing figure who is tied up shows that people are trying to break free while there are still restricted. There were a lot of civil rights movement going on,  such as the women’s march, the protest of the African American. The dancing figure, together with the swirls shows that people are feeling lost and excited at the same time.

Integrative Studio & Seminar 2: Bridge 2, Context (Part 1) Field Trip

Pillola Suite of Lamps

Dated 1968, this suite of lamps was designed by Cesare Casati and Emanuele Pozio and manufactured by Nai Ponteur. It was made of molded methacrylate, plastic and acrylic. It is representative of Italy’s anti-design movement of the mid-1960s and 1970s, and is also related to the pop culture.

When I first came across the “Energizing the Everyday” Exhibition at the Cooper Hewitt Museum, this suite of lamps immediately intrigued me. The lamps were bent in different angles and were casting rhythmic shadows of varying levels of darkness. According to the caption in the museum, these angles demonstrated the haphazard look of pills accidentally dropped. The designers showed their sense of humor there by associating the angles with some typical connotations of drugs: perilous, rebellious and fun. The lamps have the oblong shape of prescription pills while they are much bigger than life-size and have different colors. The bold, simple and bright colors made me think of the Emerald Pill by Claes Oldenburg and most works of Andy Worhol. The lamps are apparently in conversation of pop culture and consumerism. The surface and the base are made of thin transparent ABS plastic and acrylic, demonstrating a smooth, reflective quality. The surface also creates beautiful light outlines for the shadows.  Through the bright color palette and the materials, it seems that the designers are critiquing the mass culture which is mass produced by mass consumption by mass media. The lamps also remind me strongly of Moschino’s capsule collection. Because they both use prescription pills as the main theme and achieve rebellious and playful visual effects.

This suite is definitely something I would like to have in my home, but I am still curious about its context. Was it designed for home use or just for display? I believed that this unique and controversial suite would communicate very contrasting values in different contexts.

10 Questions

What is Italy’s anti-design movement? How did it affect the history of design?

Why is this suite representative of Italy’s anti-design movement?

What are the pros and cons of plastic in product design?

From the mid-1960s to 1970s, what are the connotations of prescription pills? Are they positive or negative?

Is there any difference about the connotations of pills between Italy and the United States?

Where did Casati and Pozio get the inspiration of this design? Are they inspired by any other artist?

Why were these colors, shapes and materials particularly chosen?

How does it related to consumerism and drug abuse?

What is the context of this suite in the designers’ perspective? Is it for home use, bar use or just for exhibition?

As the lights can move in varying angles, how do different angles convey different meanings or humor?

 

Reading Response-Blue Jeans

“Everyone, without exception, whom I interviewed and spoke with in the course of my research on fashion (designers, apparel manufacturers, buyers, persons from the fashion press, fashion-conscious laypersons) interpreted designer jeans in this light. Most felt that status distinctions were the only reason for designer jeans because, except for the display of designer label, they could detect no difference between designer and nondesigner jeans.”

 

The majority of people, no matter they are in the fashion industry or not, cannot see any difference between designer and nondesigner jeans. This reveals the egalitarian symbol of denim. Jeans are not born to be elite, they are born to be casual and to be worn at work. High-end companies put in a lot of effort for marketing and keep adding ornamentation to jeans. However, in my opinion, these are great for haute couture but are not necessary for jeans, because the most valuable features of jeans are the simplicity and free spirit.  Another interesting fact is that there are still people willing to buy designer jeans even while they cannot differentiate them from normal cheap jeans. This shows that consumers are paying for self-satisfaction and social image as well as the products themselves. A pair of designer jeans can make them feel more elite and being in a high social status.

 

“Paralleling the de-democratization of the jean, by the 1970s strong currents toward its eroticization were also evident.”

 

In fact, I think the current towards eroticization and sexualization existed for almost every type of clothing from the 70s to 80s, and was now moving towards the opposite direction. Davis mentioned the occurrence of denim skirts, “jeans for gals” labels and mini jeans exposing the buttocks. I also thought about the relatively erotic advertisement of Calvin Klein jeans. Fashion companies were trying to shift the unisex and suitable-for-working images of jeans towards gender-specific ones. They wanted consumers to feel super feminine or masculine in jeans so that their sales could be increased. However, as feminism is getting popular and gender nonconformists are widely accepted, those baggy, gender neutral jeans were now back to stage. People also started to pay more attention to their own comfort rather than others’ opinion of them. Fashion is a cycle, it changes as people changes their ways of living and attitudes towards life.

 

“And so do the dialectics of status and antistatus, democracy and discintiction, inclusiveness and exclusiveness pervade fashion’s twists and turns, as much, or even more, with the workingman’s humble blue jeans as with formal dinner wear and the evening gown.”

 

I think this quote reveal the openness of fashion. Fashion is all about changing. Any effort of trying to restrict fashion into one category, such as gender, age, social status will finally fade and shift to the opposite direction. Although I really like the simplicity and egalitarian feature of jeans, I am also open to a denim gown and will find it very appealing. Fashion is also fun because of its ambivalence and ambiguity. It’s hard to make everyone agree how jeans should be like or what symbol that jeans are associated with. The difference in people’s opinion cultivate the various possibilities of jeans and help the fashion industry keep growing.

Bridge 1 | Deconstruction (three street looks)

Analysis of three looks (Joey Huaiyu Dong)

I spotted this girl at Union Square Park. She was waiting to take photos of some street artists while she was also photographed by me discreetly. I saw eager and curiousness in her sight. She was clearly interested in that group of street musicians.  I found her style to be very eclectic in a good way. A black coat, tight black jeans and a pair of sneakers are quintessential outfit for New Yorkers in winter. However, she made a lot of effort by adding interesting details to make this outfit standout. She wore a dark blue down vest inside the black coat, while most people wore down vest outside. There was a colorful hood hanging outside the black coat, reflecting her playful personality. It seemed to be made of cotton and the color palette reminded me of those toy balls in my childhood. She was also wearing a neon pink wool beanie. It added an especially playful touch and because of the fluorescence. This beanie could draw others’ attention to her at first and so they would check the rest of her interesting outfit. She was also wearing a pair of silver “leaf” earrings. The earrings looked extremely feminine and delicate and formed a nice contrast to the generally sporty outfit. This eclectic outfit demonstrate the possible duality of her personality. On one hand, she was expressive and highly enthusiastic, with fast, clever and curious mind. She was definitely easy-going and an excellent communicator. On the other hand, she also looked artsy and emotional. She had a secret wonderland with romantic dreams and had some stereotypical girly features which she normally would like to hide. The delicate earrings and the vintage camera with the leather belt reflected her artistic side.

When I saw this guy in front of the university center. His fluorescent green beanie immediately caught my eyes. Generally he looked very sporty and seemed to be ready for hiking. He wore a long sleeve crewneck shirt which was dark grey and white, and got a red vest outside. He also wore a pair of black sweatpants and sneakers with pale green bottom. He was carrying an army surplus backpack. He looked a bit puzzled and was listening to something through the earphones. Without the hat, I would only think this was a normal dude who seemed to be puzzled, perhaps by his school, work or relationship.  He was walking in a consistent fast pace and seemed to be in an isolated mental state. He was not prepared to talk to any people and had covered himself with ease and comfort. But with the fluorescent green beanie, he truly stood out from the crowd. This beanie created a strong color contrast with his red vest and looked very distinct in downtown Manhattan, where most people prefer dull colors like black. Through closer look, I also found that he was wearing a gold bracelet. This guy might have a restrained personality. He wanted to have a normal sporty look to blend into the crowd and that’s why most parts of the outfit appeared muted, but he also didn’t want to be ignored completely. He threw out hints of his fashion through the green beanie and the nice bracelet. These demonstrated that he might has dressed up himself a little bit before going out and was a muted person outside, vibrant person inside.

 

 

This is a street sweeper outside the Union Square Park. He was leaning on the stone wall to take a rest. There was a garbage cart outside the photo. What striked me was how he appeared very fashionable in his uniform. It was a typical cleaner uniform which was basically a vest of fluorescent orange and yellow. I knew that the color choice were for making cleaners noticeable for drivers. But meanwhile, the color combination also looked vibrant and chic. He also wore a hard white hat made of steel. I suddenly saw the connection between fashion and this street sweeper’s uniform. The fluorescent vest felt very futuristic and sporty, many high-end sports brands would promote designer sportswear with this kind of color combination. The white steel hat also looked modern and futuristic. As designer are always experimenting with new materials, I can see them using this for an amazing runway show in the future. In addition, the guy’s posture looked amazingly stylish. Although he was relaxed, his body and leg were folded in perfect angles that it was almost like he was posing for a fashion magazine photoshoot. Fashion has no limit, the uniform of a street sweeper may be the most popular fashion piece in the future.

Response to The Fashion System by Roland Barthes

The quote from The Fashion System by Roland Barthes starts with two garments in a fashion magazine.The first one is presented in the form of  fashion photography, while the second one is presented in the form of language. Barthes argues that photography and literature both describe things but in very different ways.

From this quote, I found one sentence particularly interesting: “The functions of Fashion description are thus reduced, but also,thereby, original: since it need not render the object itself, the information which language  communicates , unless it ia pleonastic, is by definition the very information which photography or drawing cannot transmit”. I am a visual person and usually think that photos are more powerful than words, but this quote makes me question myself. Although photos give fashion a form that is almost actual(we can see its color, shape, and many other details), there is still a lot of things that cannot be shown. And that’s why words exist  in fashion description. Designers sometime use very unique techniques in fashion. For example, Issey Miyake experiments with a new method of pleating in his flying saucer dress. Description in words can help people to see his efforts under the final dress and to understand better that why it is revolutionary. Words also provides different perspectives to the viewers. People usually only generate a single opinion about a garment based on their personal preferences. Description in words can help them view the works in the eyes of fashion designers or fashion commentators. Designers’ description shows the development of the original ideas to the final garments, and the commentators’ descriptions  demonstrate the garments in a more professional way.  In addition, fashion photography only show the garment in one or few angles, while words can show it in multiple angles and in motion . For instance, the flying saucer dress is described as an accordion, we can then imagine how the dress appear differently when we push and pull it to different extent.

To conclude, words can bring the fashion photos to life and help people view it in a broader and deeper way.