Introduction
On the de Young Museum in San Francisco, a piece of textile tradition is exhibited and which ascribes to the Minimalist works of art. In this exhibition, the design principles include the regular, symmetrical or gridded display of material arrangement so that there is a repetition of various modular elements and complete absence of ornamentation. The Buddhist altar cloth utilizes the Minimalism art and a repetition of simple forms is used in the weaving of the cloth. This piece of art seems to favor the cool over the dramatic style.
The inventive installation of this exhibition can be said to enhance viewer’s experience. The symmetrical pattern is repetitive and is grouped by the progression of only two colors o represent simplicity and universality of the design principles. The exhibition seems to be aimed at satisfying minimalists and textile-geeks at the same time. Varying textile traditions from all over the world are featured here, and many visual elements and formal qualities are presented in this exhibition. The grid of weaving is presented as a device for pattern (de Young,1). Upon looking at the design, fabric will be noticed as the first thing. Hence, textile form an important part of the fashion world and this is proven by this exhibition. The exploration through the textile world emphasizes the universality of the minimalism design principles. The repetition of the simple forms is an element in the exhibition and in such patterns; mathematical geometry is a vital component of the design(Textile Arts Council, 1).
The main theme of this exhibit is therefore to compare the weavings to the abstract art minimalism school, which is evidenced in the manner in which grids, simple forms and regular geometric forms are symmetrical. The designed used link round flowers that are white silk and continuous patterning wefts that serves to supplement the dull background (Textile Arts Council, 1). There is a chromatic harmony seen between these colors which allow for a visual continuity since there is no one dominant color. There is a display of an overarching design which indicates the innovative and simple approaches applied in the creation of the patterns in this piece. The decorations are kept at minimum with no actual ornaments further illustrating the simplicity of this design. This illustrates the principle of minimalist art whose basis pre-existing systems that create the idea of the work before its practical execution (Textile Arts Council, 1).
Conclusion
This artwork represents minimalism which opts for simplicity and unconventional fabrics and design. The use of repetitive patterns is also a major component of this design principle and mathematical geometry plays an important component. Decoration and ornamentation are kept at minimum to further portray the theme of the design. This exhibition is useful to individuals with desire for minimalism design in artwork.
Works cited
de Young. On the Grid: Textiles and Minimalism. (n.d). available at: https://deyoung.famsf.org/exhibitions/grid-textiles-and-minimalismTextile Arts Council. On the Grid: textiles and Minimalism.2016. Available at: http://www.textileartscouncil.org/wp-content/uploads/2016/09/September-2016-Newsletter.pdf
Dior Runway Show
Introduction
The replacement of Chiuri and Piccioli team with Maria Grazia Chiuri at the Dior Runway show raised a lot of bizarre questions especially based on the notion that the show is meant to cater for women and had never be ran by a woman. By taking on the job, she showed that Dior had the opportunities for the next generation regardless of their gender. Chiuri has for long fought for femininity in the French culture and has acquired a long experience while working for Valentino and she appears to present how modern femininity is changing (Friedman, 1). She, however, emphasized on the need for continuity especially through her respect for all men who preceded her starting with Dior himself. The new director is taking all the dior elements already on the runway and doing things her way. But she managed to acknowledge the history of this brand.
The inspiration of the runway under the new directorship seems to be inspired by “unfinished business at the Metropolitan Museum “(Friedman, 1). The change is indicated by the garments which evoke artistic work in both their workmanship and prints. In the present design, there is a tone down of classic camouflage which is then changed into an artistic pattern while coats, overcoats and bomber jackets are decorated by panthers. Another theme of the collection is the military style which is observed in blousons and overcoats and the inspiration for these seems to be inspired by the universe (Mower, 1). The designer also tends to favor Denim fabric and use it in the creation of a series of jumpsuits that are solid in color. This make them resemble denim jackets and jeans with five pockets combined in a single garment. Many things which were purely introduced by Maria Grazia in the collection which really changed the face of Dior runway show. Despites the changes she went ahead and acknowledged other designers and their tastes such as Marc Bohan who had the longest tenure and which was also the most fruitful but who has been overlooked many times in the shuffle (Blanks, 1).
The changes did not go unnoticed by the trolls who seem to have problems with how the show seems to have departed from the spirit of Dior. The director from Valentino has been taken to task due to her presumption for what is perceived as her sad failure to uphold the legacy of Dior. She, however, asserted validly that all her predecessors had their own personal view of the legacy but the problem arises with her take. The change had to be done within two weeks and the runway was being operated with similar time pressures to that of previous designers (Blanks, 1). While previously the show drew on the design styles of Dior, the new director opted for some designs that are closer to Dior especially the evening dresses inspired by tarot-card and tulle skirts adorned with four-leaf clovers and various astrological symbols. The artwork has been linked to the new director’s work at Valentino, and gossamer gowns that were once breathtaking. She could not avoid falling back on the design styles she was familiar with explaining the reason for the show loosing the Dior sense to the adoption of Valentino spirit. The extent of this transformation is seen in the echoing of bare-boards staging by the Valentino’s Espace Ephemere’s presentations (Blanks, 1). The show has turned to creating fashions that resemble the present day woman. Looking keenly at the collection, one cannot fail notice the bee motive appearing in the attire.
Conclusion
The Dior runway show has transformed in a big way from the Dior sense and adopted the Valentino fashion spirit. This has been informed by the feminine inspiration brought in by the new director Grazia Chiuri. With new design motifs, the designer has focused the show to serving the modern woman fashion needs. She has, however, emphasized the need to recognize the legacy of past designers.
Works cited
Mower,Sarah.Christian Dior.2016. Available at: http://www.vogue.com/fashion-shows/spring-2017-ready-to-wear/christian-dior Friedman,Vanessa .At Dior, Feminism Under the Spotlight. Available at: http://www.nytimes.com/2016/10/01/fashion/paris-fashion-week-dior-maria-grazia-chiuri.html?_r=0Blanks, Tim. Mining a Legacy at Dior. 2016. Available at: https://www.businessoffashion.com/articles/fashion-show-review/just-in-christian-dior-springsummer-2017
