Beyond Wearable , an exhibition about the combined creation of fashion and contemporary art . Creative concepts are developed and extended into different form of ‘moving art pieces’.  Leading Hong Kong fashion designer Ms. Meiyi Cheung collaborates with Japanese artists TomoakiTarutani and VIWA, using their paintings and patterns for her new collection,  recreate fashion pieces as art , rather than seasonal disposables.  VIWA and Tomoaki's paintings and patterns contain a sense of modernity, and have plenty visual interests, that moves people's heart and sensation, as fashion does. From the fashion pieces, extraordinary headpieces (‘wearable sculpture’) are created by Australian artist Tricia Flanagan, further extend the concept into “wearable art piece”, while fashion photographer Dicky Ma, translates the concept into visuals via his lenses of light and shades. 

穿•越 当服装越过衣物的界限，与当代艺术融合，创意便会造就出不同形式的时尚设计，让它们成为能够穿着的艺术品。香港知名时装设计师美仪，联手日本艺术家垂谷知明和比巴，将绘画图案融入设计系列之中，让服装成为艺术再创作的载体，而不是追逐潮流的产物。两位日本艺术家的作品，就如时装一样，具备现代感和视觉吸引力，打动着观者的心灵。

而当艺术品越过界限，如澳大利亚艺术家Tricia Flanagan的头饰设计那般，阐释着“可穿戴的雕塑”的概念，成为我们身上的配饰。加上这些作品在摄影师Dicky Ma的镜头下，以别样的光影姿态出现，观者便能更深切地体会到艺术和服饰融合所产生的化学作用。

Opening & VIP preview :  30^th June. Saturday

Time:                             1500 - 1800

Venue:                           225 Concept  225, Beijing Road, Guangzhou,

David Zalben, wire work.
To him, wire is his brush, space is his canvas.
To fashion designers, stitch and thread is the brush, textile is the canvas. 
No matter it's thread or wire, all we need is space and form. 
When I stood in front of David Zalben's works, I doubted if i walked into the space of a canvas and stood between of drawing lines. So surreal... reality becomes less complicated and easier to understand.

Alba Prat

A beautiful blend of fashion and architecture. 

An extraordinary creation of wearable art. 

When we have color direction forecast for 2013 spring summer,

12months ahead of the market


Is it better than nothing or is it all we need?

Color forecasters put together color directions 12-18months ahead of the market, we seldom  question about where do these colors come from, and how they are composed. However, at the same time, we believe these colors are reflecting the like and the wish of the future market so as to make our products sell. Color forecasting is not only used by fashion people but also industries such as cosmetics, interior and furniture, product design and even car industry. It is just a matter of how quick and what level does it influences the specific industry. The most important of all is how accurate these color palettes predict the market, yet nobody has extra hours and fingers to review the KPI of these predictions after chasing hard the speedy changing world. So, why not just believe it and follow it. 

Japan Fashion Week 2013SS color forecast

Japan Fashion Week 2013SS color forecast

Japan Fashion Week 2013SS color forecast

Japan Fashion Week 2013SS color forecast

Paper textile use as architecture

Paper textile use as fashion 
Fashion designed by Meiyi Cheung
Displayed at the Fashion Visionaries,
the World Expo 2010, Shanghai.

Fashion trends start with plan, data, assumptions and influences. 

Fashion designers start seasonal collection with organised color palettes provided by forcasters, or fibre companies. Whose color palette is the most influential becomes the trendsetter of the next season.

Do you believe in the 2013 spring summer color palette here below? Do they mean much to you?

Lenzing color 2013 spring summer

Lenzing color 2013 spring summer

Lenzing color 2013 spring summer

Lenzing color 2013 spring summer

Lenzing color 2013 spring summer

Lenzing color 2013 spring summer

project of art evolution 02 

Tomoaki believes everything is forever changing day after day, forever emerging in this world, until it disappears. These changes, which take place in “this world ”, cannot be denied even if he desires to do so. This is because these changes becomes the phenomena of the “world”, the place he exists. In fact, what he  wants is to actively accept the changes in his life; to enjoy the moment of changes in the world where he forms a part of it, with the hope that perhaps this will help him to develop a keener insight into this “world” of his.

With the time given to him, he hopes to encounter as many people and as many situations as possible. Even if there remains a gap between mankind that is hard to bridge, he still hope people can get to know and communicate with each other. How long can he keep changing? How deep can he go? With these things in mind, he works as an artist.

As for his artistic method, he creates a work of art mostly based on photographs and other materials which he has taken and collected for his own records. This collection of photos and materials is an accumulation of himself – of the encounters with reality that he has had, some casual, some moving. They are all pieces of  the past of himself and clues to who he is. He regards them as the Library of Tarutani. All of these photos and materials are catalogue and stored in a computer under different categories, such as date or genre.

In his desire for having an encounter with his deeper self, he creates works of art. Those things selected from the Tarutani Library, such as themes that are found in his daily life, sensibilities, sensitivities that are embraced in the unconscious (a sense of humor that helps him to enjoy chance happenings and even failures) – all these elements that constitute his consciousness are mixed together and interwoven to compose his artworks.

In his recent works, he frequently uses a method that he calls “Connecting the Grains”. It is a method that he believes is the best suited to express his image of one pluralistic universe arising from infinitely multiplying worlds with primitive and primordial vitality. 

Painter: Tomoaki Tarutani

Untitled / 2010 / 

Technique: Mixed media on paper mounted on panel 15 x 20 cm 

Fashion Designer: Meiyi Cheung 

Skirt: digital print on silk cotton
Model: Myra Tang

 Head piece artist: Tricia Flanagan
 Material: felt, feathers, wood, crewel embroider
 thread.Technique: Steamed, moulded and stitched. 

project of art evolution 01

Painter Viwa 比巴

Viwa wants to recreate the modern version of decorative arts and their composition from the Edo Period. His works are inspired from the paintings on the traditional folding screens - byobu, and the traditional sliding doors - fusuma, primarily served the purpose of decoration, and that the role of the images and patterns on the surface, represented the method of déformer, is to provide a contrast in order to bring out their decorative function. He believes that, aside from serving as a medium of expression for the artist, paintings can also play a decorative role.His goal is to create unique images by reproducing history while at the same time incorporating modern elements such as street culture and graffiti into the design. By examining the historical era in which decorative arts flourished and their roles in that historical context, he hopes to present the role of art in the world today as well as the direct link between the modern world.

garment: digital print on 100% silk chiffon

model: Kara E.

 Fashion Designer Meiyi Cheung

Meiyi believes fashion is not just for chase and grab. It is a piece of delicately crafted art piece that goes with the form, sensation and motion of human body, presents to the rest of the world who we are. While clothes serves as our protection gear against nature, fashion turns us into a piece of walking art.  

Each season, Meiyi collaborates with artists from different discipline. Use fashion as a tool to develop the 2nd life of the artist's work. She uses textile, elements of trend and outfit silhouette to address the beauty of the original work.

Meiyi turned Viwa's painting into one of her six fashion theme- the element of women, vigour. She saw the lines and movement of the pattern and color usage symbolizes the inner energy of modern women, splendid and continuous.

 

material: cardboard, colored paper, 

wooden dowel

technique: laser cut and lamination

Head piece artist Tricia Flanagan 傅織女

To Tricia, 'Vigour' draws on the landscape of the body. The topographic    mapping is not eroded as a usual landscape would be - worn down from the weather, on the contrary the shapes evoke an upward energetic movement like splashing water, reflects the vigorous lifestyle of nowadays women.

Does ORDER exists in the world of aesthetic? Or with its absence,  a new world of beauty is created.

When fashion is more than wearable.

Fashion reflects the human mind of the time. When we, as a designer, have the freedom to rethink why fashion is stitched and sewn, we  also have the brave to explore alternatives.

WHOSTHAT 2012 FW collection by Meiyi Cheung