Digital technology has accustomed us to see everything, even a simple geometric form on our computer screens, in three-dimensions. At times, though, the most interesting experiments end up being the ones in which volumes are approached from different points of view and three-dimensional shapes are flattened.
Berlin-based, New Zealand-born artist Simon Denny has been carrying out experiments about technology and the obsolence of consumer goods and has quite often played with the themes of thickness and volume.
To mark the switchover from analog to digital, artist Simon Denny did an exhibition last year featuring a collection of analog equipment that he acquired from British broadcast network Channel 4.
Later on, Denny also printed images of the machines on canvases and mounted them onto metal frames creating empty volumetric forms.
His installation “Analogue Broadcasting Hardware Compression”, currently on at the 55th International Venice Art Biennale is a sort of flattened totemic monument to obsolete technology.
The installation features a series of images of the obsolete technology and broadcasting hardware he acquired in his researches transferred onto twinned prints on canvas.
James Pawson's graduate collection showcased in May during Westminster University's fashion show follows the same principles behind Denny's flattened technological prints.
Pawson studied 3D design at college, but his menswear collection features a series of flat-pack garments made with industrial felts that the wearer can literally “assemble” around his body to create an innovative DIY wardrobe.
Can you please introduce yourself to our readers?
James Pawson: I was born and raised in a village outside of York, and after studying Art, ICT, Geography, Physics and Biology at A-level, I was accepted at Leeds College of Art and Design where I did my foundation degree. It was such an amazing year. I just remember the building being filled with so many creative people. It was like nowhere I'd ever been before. I specialised in 3D design with the idea of becoming an architect, but it wasn't until 4 months before the end of the course that I switched to fashion. It turned out to be the best decision I ever made. At the moment, though, I'm based in Dalston, living with some mates, but in a couple of months' times who knows.
Can you take us through the creative process behind your graduate collection?
James Pawson: The collection was really a refinement and a development of an idea that I've been working on throughout my final year. My year out really gave me the time to actually stop and think about what I love and what I hate, to properly think about what defines me as a person. When the flat-pack garment idea came to me it was the culmination of 12 months of ideas and random stuff that I've been scribbling down all over my room and in the thousand of notebooks I have everywhere. I just really loved the idea of changing how we think about garments, the concept of when is a garment actually finished and how much interaction does the wearer have with the clothing he or she actually wears. I designed a 6 piece collection of basic items, with the idea they could be bought flat or even on a roll and then would be sold with instructions on how they are constructed. It was from this that my collection evolved. It began to incorporate other parts of the garment that on the flat, when the garment was deconstructed, appeared to be nothing but when erected around the body would become a feature of the garment, maybe a pocket or a fastening.
What kind of materials did you employ to recreate the rigid shapes and silhouettes of your designs?
James Pawson: I really began by fusing random fabrics together. It was just a massive experiment really to see if I could find anything that could interlock like cardboard boxes, yet be flexible enough to move with the body. I began to work with different felts from some of the places I found in London, but then found a company in Yorkshire that produced recycled industrial felt. It was brilliant. I loved the texture and changing colours from all the recycled elements. It was perfect, the interlocking designs worked brilliantly and it really allowed me to create these beautifully simple but bold shapes.
In your lookbook you reference architecture, but also art through Beuys' felt suit: in which ways do these disciplines inspire you?
James Pawson: I take my inspiration from basically anywhere but fashion. I think from a young age l have always loved anything complex and technical and I just found fields like architecture and product design so much more refreshing and intriguing. I did a lot of research into product and packaging design, and studied the Braun back catalogue and work of Dieter Rams during his time as creative director. His principles of design, and the concept of “as little design as possible” really got stuck in my head when designing this collection. I hate design for designs' sake!! I think with Beuys work, it was more the tactile nature and the honesty of the materials that he used to produce his multiples series of which the felt suit was one. I just love how he changed people's ideas of art and its ownership with something as simple as a postcard being transformed into a beautiful object when made from something as simple as felt or wood.
Do you feel that playing with patterns is the best way to create innovative shapes in menswear?
James Pawson: No. Before I even started to design, I wanted to change how I even thought about garments let alone men's fashion. I love functionality, I think everything should be designed for a reason and when the design takes over from the actually reasoning behind the item, it loose its integrity. I think to create an innovative shape you need to start with the process behind the garment, to look at its functionality, the fabrics or even how it could be produced, packaged and sold. DIY clothing?
Which was the most challenging part of creating this collection?
James Pawson: I think it was probably knowing when to stop. I'm not very good at letting things go or knowing when something is finished, so I think the most difficult part was fastening that final screw and walking away.
Is there an artist/designer you particularly like?
James Pawson: I tend to look at lots of individuals from numerous fields of design, anything clever or graphic or really bloody complicated I usually love. I really like a lot of Japanese work, Watanabe's folded work is really really beautiful, and also Massimo Osti and Stone Island because he has done some incredible things with fabric and I love the fact that he is described as a "garment engineer".
Were you excited about presenting the collection during a proper catwalk show?
James Pawson: I was, because I get so attached to my work and I was also a little anxious about everyone's reaction. In the end it was probably one of the best, most memorable and most stressful experiences in my life!
What's the best lesson you were taught at the various placements/internships you did so far?
James Pawson: I would probably say how important execution and the quality of presentation is to your work; if your ideas are presented and executed beautifully and if you can completely transform and reinforce the essence of your work.
What are your future plans?
James Pawson: Over the next few months I'm just going to be working on my portfolio and getting some more experience in the industry. I'd love to spend a lot more time in Europe and then in 2-3 years' time come back to London and apply for an MA.
Photographs of James Pawson's collection by Simon Armstrong.
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