تكنولوجيا الطباعة ثلاثية الابعاد وتوظيفها في تصميم أزياء النساء
من خلال اعمال مصممه الأزياء
Mary katrantzou
Prepared by
dr . sahar aly
zaghloul & maha elhawasi
INTRODUCTION:-
Mary Katrantzou born
in 1983 in Athens, is a Greek fashion designer who currently lives and works in
London. She was born in Athens, to an interior design mother and a father who
trained in Textile Engineering.
She moved to America for a BA in
Architecture at the Rhode Island School of Design in 2003, before transferring
to Central Saint Martins to complete her course, transferring to Textile
Design. During this time, Katrantzou succeeded in selling some of her print
designs to Bill Blass. Graduating from her BA course in 2005, Katrantzou
shifted her focus from prints for interiors to prints for fashion. Working with
Sophia Kokosalaki for two seasons in 2006, she also developed her portfolio for
the Central Saint Martins MA Fashion Textiles course.
In 2008, she opened the Saint Martins
graduating show. Her collection was nominated for the Harrods and the L‘Oreal Professional
Award. Supported by a Newgen (talent identification scheme created by the
British Fashion Council in 1993) sponsorship for six full seasons (S/S 2009 –
A/W 2011), her first Prêt-à-porter collection was shown at the autumn/winter
London Fashion Week in 2008.
Katrantzou's graduating show in 2008 mapped
out her signature style. It was themed around trompe l'oeil prints of oversized
jewellery featured on jersey-bonded dresses. these pieces created the illusion
of wearing giant neckpieces that would be too heavy in reality. She also
designed real jewellery made out of wood and metal that were exact replicas of
the prints. Mary katrantzou's first ready-to-wear collection debuted at London
fashion week in Spring/Summer 2009, with the support of the BFC and the New Gen
scheme. Despite a small collection of nine dresses, Katrantzou picked up 15
prestigious stockists including Browns, Joyce and Colette. The designer
achieved show status the following season, in Autumn/Winter 2009.
Her thematic
collections revolve around an icon of luxury, an object from art or design that
a woman would not be able to wear if it were real. Mary has based the
collections on perfume bottles, artisan blown glass, eighteenth century society
paintings, and interiors while keeping the printed image central to her
aesthetic. Her collections are complemented by a capsule jewellery line with
the same play of illusion and effect, highlighting her other talent, that of a
jewellery designer. For the fifth season Mary was a recipient of the new gen
award (the maximum amount of times this award can be given), presenting her
show for autumn winter 2011.
Her
collections are now available worldwide in over 200 high-end fashion shops,
including Selfridges, Harvey Nichols, Barneys, Neiman Marcus, Colette, 10 Corso
Como, Joyce, Luisa Via Roma, Mytheresa, Stylebop, Opening Ceremony and Net a
Porter, and in 47 countries. A collection
for Topshop launched for London Fashion Week autumn/winter 2010 and was
available in shops in February 2011 and sold out within the first few days of
its release. Katrantzou‘s work has been featured in publications including
Vogue, Dazed & Confused, and Grazia. In 2010, she was awarded the coveted
Swiss Textiles award, succeeding Alexander Wang. She is one of the designers of
Città dell'arte Fashion. Hannah Holman is one of the better known models who
recently walked in one of Katrantzou‘s shows.
In November 2011 Mary was awarded the British
Fashion Award for Emerging Talent: women swear and in February 2012 was awarded
Young Designer of the Year at the Elle Style Awards. February 2012 saw the
release of her much anticipated collaboration with Long champ creating a
capsule collection of their signature bags and totes. To promote them Vogue
Japan gave away a plastic card case with Katrantzou's famous prints with their
May issue. Three prints featured in this collaboration over several different
shapes and sizes. The collaboration was one of the most successful in
Longchamp's history.
Vodafone UK is entering into an exclusive
two-season partnership with pioneering designer, Mary Katrantzou. Vodafone will
work with the British Fashion Awards Emerging Talent Award winner - Katrantzou
across spring/summer 2013 and autumn/winter 2013. The collaboration will offer
Vodafone customers access to her innovative catwalk show as well as the chance
to meet her backstage at London Fashion Week.
Danielle Crook, Vodafone’s UK Director of Brand
Marketing, said today: “Mary Katrantzou is one of the most exciting
designers in British fashion today - she was a natural fit to help us continue
our involvement in fashion. Her bold graphics and iconic designs have attracted
a cult following from every part of the fashion world and we are thrilled to be
working with her. For us, this means we can give our customers a unique fashion
experience at Mary’s catwalk show during London Fashion Week.”
Mary Katrantzou say: “I am excited to be
working with Vodafone, as a brand they have really cemented their credibility
and support within the fashion industry over the past few seasons. Their
innovation elements really appeal to me and it felt a natural fit to join
forces. I'm really looking forward to be able to widen the fashion net to their
customers and bring them to the front line of fashion week.
Katrantzou has also collaborated
with haute French embroidery house Lesage, and working with the ultraexclusive
atelier is the fashion world’s gold stamp of approval. It is the first time
Lesage, which usually only works with luxury labels, such as Chanel and
Christian Dior, has teamed up with a London designer.
"It was an honour to
work with a house that has such history. It allowed us to create pieces that
would never have been possible in the past." concedes Katrantzou.
The designer’s prints leap to a startling three dimensional reality
inthe hands of Lesage. Virtual tufts of grass poke up between stones on a top
featuring an image of a garden path, and a dress printed with a bathtub spills
over with lifelike pearlescent bubbles. Joining Mary
Katrantzou in the digital-print revolution are design duo Peter Pilotto,
34, and Christopher De Vos, 31. First meeting at the Royal Academy of Fine Arts
in Antwerp in 2000, Pilotto and De Vos moved to London separately before
joining forces on the Peter Pilotto label in 2007. “Peter is focused on textile and print, whereas Christopher
concentrates more on the silhouette and draping. However, as a duo, we work
closely together to create something
new; the process is very organic,"
Drawing inspiration from nature,they
digitally manipulate irises, carnations and jacquard into abstract forms that
are then sculpted into precisioncut shifts. The result?
Graphic, body-conscious dresses that are a
hit with the style set and young Hollywood (Kate Bosworth, Carey Mulligan and
Miranda Kerr have all stepped out in the label).“Their clothes express
individuality – they allow celebrities to reflect their personality and they’re
far more adventurous than the traditional LBD,” says Chapman.
Sasha Wilkins, founder of fashion blog
LibertyLondonGirl.com, agrees: “I think women
are bored with the ideaof sterile, monochrome chic. Print is incredibly
flattering – it adds interest and a point of difference. And these three
designers make glorious dresses!” Even influential US Vogue editor Anna Wintour
is a fan. A few years ago, she would bypass London Fashion Week altogether.
This season, she sat front row at Peter Pilotto, Erdem and Mary Katrantzou.
Dubbed the "Queen of Prints" sits
in front of a computer in her North London studio conjuring up Surrealist
worlds in which a woman can wear a chair and the fork that runs away with the
spoon stand together on a sculpted dress. "When you wear a Mary dress, other
people know it's a Mary dress," says Laura Larbalestier, buying director
at Browns, a London boutique. "In a very modern way, she's done something
very identifiable, which is more sophisticated and intellectual."
Mary Katrantzou is part of the new face of
London fashion. Alongside labels Erdem and Peter Pilotto, she is bringing a
fresh energy to the British style capital, making London once more a home of
emerging design talent.“It feels like London has found its feet again
after a tricky period.
2010: Swiss
Textile Award
2011:
British Fashion Council Awards Emerging Talent.
UKFT
Export Awards Designer Business .
2012: ELLE
Style Awards Young Designer .
·The
Luxury Briefing Awards Emerging Luxury Leader .
.(www.wikipedia.org)
MARY KATANTZOU COLLECTION:
Collection Autumn/Winter
2008
Katrantzou opened the central saint
martins graduating show in 2008 and the collection mapped out her signature
style. it was themed around trompe l’oeil prints of oversized jewellery
featured on jersey bonded dresses. these pieces created the illusion of wearing
giant neckpieces that would be too heavy in reality. she also designed real
jewellery made out of wood and metal that were exact replicas of the prints.
 |
|
Winter 2008. Picture (1) collection autumn /
|
Collection Spring/Summer
2009
Mary katrantzou's first ready-to-wear
collection debuted at London fashion week in Spring/Summer 2009, with the
support of the BFC and the New Gen scheme. Despite a small collection of nine
dresses, Katrantzou picked up 15 prestigious stockists including Browns, Joyce
and Colette . Chunky jewelry, bold shapes and contrasting colors is the leading
theme in collections 2009. this
collection features digital prints of oversized jewelry on bonded jersey.
 |
Collection Autumn/Winter
2009
For her debut runway collection, Mary Katrantzou jolted her audience a
packed house, at 9 a.m. wide awake. As the recipient of New Generation funding,
she used every resource to pull together an impressive development of the bold
placement prints and jewelry she spent last season showing to buyers, gathering
orders. Her motifs simplified images of perfume bottles-packed a clean,
colorful graphic punch and polish that belied the effort they had taken to
assemble. "I found a printer called the Silk Bureau here in London,"
Last season, Katrantzou's first
offerings were all in a single shift shape. Their newness and wearability won
plenty of takers on sight, but some were left wondering whether, as a textile
specialist, she'd be able to broaden her line into different silhouettes.
Katrantzou delivered impressively, adding fluted skirts and new dress shapes,
long-line tubes, and zippered suede pants. Better still, she raised the level
of her other talent as a jewelry designer, layering on giant necklaces
constructed from gold tubing, chains, and mirrors. Again, it was a question of
a determined young woman using every resource at her disposal, including the
help of her family in Athens. As Katrantzou explained backstage, "My
mother has a furniture-making factory. She's retired, but I forced her to get
back in there and make me some pieces." It may be about the toughest time
to launch a business, but this is a young talent whose .
vision
and attitude are, by every indication, just about perfectly adapted to make
things happen for herself
Collection Spring /
Summer 2010
Mary Katrantzou is among the second wave
of breakout stars of the digital print revolution that has been sweeping
London's designers since Basso & Brooke began experimenting a few years
ago. The shift from mechanical screen printing to computer manipulations of color
and pattern has meant designers like Katrantzou can achieve hitherto impossibly
complex feats of imagination, and she's moving as fast as pixels and ink jets
can be pushed to decorate a beautiful silk dress.
For Spring, the wavy, multicolored trompe l'oeil patterns were an
intensification of the research into perfume bottles Katrantzou used last Fall.
This time, she'd gotten sucked into the visual possibilities of the spiraling,
fluid forms of artisanal blown glass. "It became more free-form, and kind
of organic," she said of her collection. "We ended up naming some of
the dresses Sea Tiger, Barracuda, and Yellow Inferno." To complete the
theme, she asked a British master of art glass-blowing, Peter Layton, to make neckpieces
and cuffs, and added gold Swarovski beading to a bodice section that "took
six people three days to finish."
The result: far more sophisticated pieces than the front-only placement
prints on shifts she did last season. It was a definite step forward for a
Greek-born designer whose focus can be credited to the best creative education:
Rhode Island School of Design, Central Saint Martins MA, and London's Centre for Fashion Enterprise, where
she's now the recipient of free studio space and business mentorship.
Collection Spring /
Summer 2011
For her first stand-alone show, Mary Katrantzou came up with a conceit
so dazzling, so artful, but so elementary that it made you wonder why no one
else had attempted it. She'd been looking at the highly stylized seventies
photography of Helmut Newton and Guy Bourdin when
it occurred to her that the interiors in the pictures were just as important as
the models. "With this collection, I wanted to put the room on the woman,
rather than the woman in the room," Katrantzou said after the show. You
could say Hussein Chalayan attempted something similar ten years ago, but his
pieces were elements of a conceptual performance, while Katrantzou's were
desirable clothes to be worn. The fact that they were also surreal masterpieces
of the digital printer's craft only made them more seductive.
Katrantzou said she worked in three
dimensions for the first time while designing her prints, and there was an
almost hallucinatory depth to the images she lifted from old issues of
Architectural Digest and World of Interiors, once they were laid over her
precisely fitted silhouettes. One memorable example: a dress whose top half
featured a swimming pool in an L.A. house, while below was a view of the city
by night from a balcony that, one imagined, was part of the same dwelling.
Another: a polished dining-table cut away as a skirt, with a perspective of the
room behind rising up the bodice. But these descriptions can scarcely convey
the exquisite symmetry of the printing that, at various points within the
collection, created patterns it was almost possible to read as abstract art.
It didn't stop there. Katrantzou added
trompe l'oeil interior details to the clothes. A pelmet created a portrait
neckline above a print of a window frame; swaths of chiffon fluttered like
curtains; mini-crinis echoed lampshades with dangling pendants of crystal. Wall
sconces were reconfigured as necklaces (but they were too literally heavy for
the airiness of the clothes they accompanied). After the show,Italian style
icon .
Collection Autumn/Winter
2011
Last season, Mary Katrantzou's tour de
force of interior-exterior decoration put "the room on the woman." So
she said. This collection was more about "the woman in the room."
Stated the designer backstage today, "It's more fluid, more real."
But the "more fluid" her "more real" got, the more you were
left in the same jaw-dropped state of irreality that her Spring show had
induced. That was mostly because Katrantzou imagined the woman as a
connoisseur, surrounded by objects of beauty like Fabergé eggs, Meissen
porcelain, cloisonné enamel, and Ming vases. And all of them were reproduced in
hyper-vivid prints. The koi in one print were all but swimming before your eyes.
To match the luxurious collectibles that
inspired these prints, Katrantzou borrowed silhouettes from the haute couture
wardrobes of their imagined owners. (The names of legendary style icons like
Diana Vreeland, Babe Paley, and the Duchess of Windsor were bandied around,
though there was a bucket skirt shape that could have been in Armani's last
Couture collection.) But, to be honest, the artificiality of these shapes
scarcely felt like a remove from Spring's lamp shades.
Anyway, it's a no-brainer that a flat, wide
pannier or peplum makes a perfect screen for Katrantzou's projections. Things
got more interesting when the designer softened her silhouette. "It's
hellishly difficult to put a placement print on a bias-cut dress," she
sighed backstage. Even to those of us uninitiated in the art of printmaking,
the challenge presents itself as something like nailing water to the floor.
Remarkably, the designer mastered the bias, and a whole lot of other soft
options besides, from a Lurex-shot Orientalist knit sheath to daisy-strewn
panne velvet to a billowing purple infanta gown.
The softness was a plus for any woman who
would rather wear her Katrantzou than hang it on the wall. But one day, it will
belong there too, on the wall of a museum, in an exhibition dedicated to the
absorbing aesthetic excess of our era. "I want to push print to the
limit," said Katrantzou, at the same time as she encouraged us to think
there mightn't be one.
Collection Spring /
Summer 2013
There was once a certain kind of child who
would collect stamps, or gather the money that relatives brought back from
foreign travel, and dream about what each piece of paper represented, where it
might have been, who had touched it on its journey round the world. For that
child, a stamp, a banknote were small passports to an exotic otherness. Or
maybe they were instruments connecting cultures. That's how Mary Katrantzou thought of them. She loved the stories they told. As borders
changed and currencies became obsolete, stamps and banknotes lingered as tokens
of the past, literal souvenirs of the values of other, lost cultures.
All the romance, melancholy, and beauty of those ideas were swept up in Katrantzou's latest collection, an absolute fashion tour de force. She's already proved she can make a ravishing print out of almost anything, and she has applied those prints to some extraordinary silhouettes, but form and content blended so effortlessly today that this felt like the point she'd been aspiring to since she started. It helped that stamps and banknotes have an innate two-dimensional symmetry that loans itself to abstraction in accessible shapes. And Katrantzou's shapes today were noticeably direct: A-lines, shirtdresses, shifts, and sheaths, offering ideal canvases. A stamp's serrated edges, for instance, provided a striking geometric border down the leg of slimline trousers. And the whorls and spirals of a banknote provided a luxurious pattern for a pantsuit in midnight blue brocade, especially when shot through with darkly sparkling Lurex.
That particularly stunning outfit crystallized just how refined Katrantzou's eye has become at abstracting pure form from her inspirations. But she has also mastered her materials to a quite ingenious degree. The finale featured one-of-a-kind pieces that paired metallic brocades and Swarovski crystal mesh printed with banknote designs. The process was almost impossibly complex, but the result was pure poetry, suggesting the golden shimmer of Byzantium. At the other end of the scale, Katrantzou worked with denim for the first time. Those pieces came at the beginning of the show. Suffice it to say they were scarcely denim as we know and recognize it.
Alex Fury's show notes referred to "the pure cultural capital" generated by Katrantzou's alchemical transformation of her subject matter. The soundtrack made the point a little more straightforwardly when, at one point, cash registers rang out. How often will this collection be defined in the next while by one word: ker-ching?
All the romance, melancholy, and beauty of those ideas were swept up in Katrantzou's latest collection, an absolute fashion tour de force. She's already proved she can make a ravishing print out of almost anything, and she has applied those prints to some extraordinary silhouettes, but form and content blended so effortlessly today that this felt like the point she'd been aspiring to since she started. It helped that stamps and banknotes have an innate two-dimensional symmetry that loans itself to abstraction in accessible shapes. And Katrantzou's shapes today were noticeably direct: A-lines, shirtdresses, shifts, and sheaths, offering ideal canvases. A stamp's serrated edges, for instance, provided a striking geometric border down the leg of slimline trousers. And the whorls and spirals of a banknote provided a luxurious pattern for a pantsuit in midnight blue brocade, especially when shot through with darkly sparkling Lurex.
That particularly stunning outfit crystallized just how refined Katrantzou's eye has become at abstracting pure form from her inspirations. But she has also mastered her materials to a quite ingenious degree. The finale featured one-of-a-kind pieces that paired metallic brocades and Swarovski crystal mesh printed with banknote designs. The process was almost impossibly complex, but the result was pure poetry, suggesting the golden shimmer of Byzantium. At the other end of the scale, Katrantzou worked with denim for the first time. Those pieces came at the beginning of the show. Suffice it to say they were scarcely denim as we know and recognize it.
Alex Fury's show notes referred to "the pure cultural capital" generated by Katrantzou's alchemical transformation of her subject matter. The soundtrack made the point a little more straightforwardly when, at one point, cash registers rang out. How often will this collection be defined in the next while by one word: ker-ching?
Summary
mary Katrantzou
born in 1983 in Athens, is a Greek fashion designer who currently lives and
works in London. She was born in Athens, to an interior design mother and a
father who trained in Textile Engineering.
She moved to America for a BA in
Architecture at the Rhode Island School of Design in 2003, before transferring
to Central Saint Martins to complete her course, transferring to Textile Design.
During this time, Katrantzou succeeded in selling some of her print designs to
Bill Blass. Graduating from her BA course in 2005, Katrantzou shifted her focus
from prints for interiors to prints for fashion.
In 2008, she opened the Saint Martins
graduating show. Her collection was nominated for the Harrods and the L‘Oreal
Professional Award. Supported by a Newgen (talent identification scheme created
by the British Fashion Council in 1993) sponsorship for six full seasons (S/S
2009 – A/W 2011), her first Prêt-à-porter collection was shown at the
autumn/winter London Fashion Week in 2008. mary Katrantzou won many awards in
different years.
Dubbed the "Queen of Prints" sits
in front of a computer in her North London studio conjuring up Surrealist
worlds in which a woman can wear a chair and the fork that runs away with the
spoon stand together on a sculpted dress. "When you wear a Mary dress,
other people know it's a Mary dress," says Laura Larbalestier, buying
director at Browns, a London boutique. "In a very modern way, she's done
something very identifiable, which is more sophisticated and intellectual.
Mary Katrantzou is part of the new face of
London fashion. Alongside labels Erdem. and Peter Pilotto, she is bringing a
fresh energy to the British style capital, making London once more a home of
emerging design talent. "It feels like London has found its feet again after a tricky period.
References
v www.fashionmodeldirectory.com.
v www.madwalk.gr
.
v www.marieclaire.com.au.
v www.turboblanco.wordpress.com
v www.wikipedia.org.
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