The main inspiration for this childrenswear collection is the work of Gaudi in Barcelona: the Casa Batlo, the Park Guell and the Casa Mila. Antoni Gaudí (1852-1926) was a Ca- talan architect who was part of the modernist and art nouveau mo- vements. These movements emerged in reaction to the increasing industrialization in Europe and the rise of industrial mass production, which were seen as detrimental to traditional craftsmanship. This movement blends craft and innovation by producing beautiful objects to elevate the lives of the people. Art Nouveau rejects the past and focuses on modernity. The artists are inspired by nature, plants, ani- mals, landscapes and transpose them into objects never seen be- fore.
My role is to question his work and to transpose it into the current society. After an analysis of his work, I find this duality between nature and new technologies very present today. I linked this notion with substainability by using a molding technique called the zero waste pattern. This process use 100% of the fabric and therefore have no waste. I explored the temporality. I reinterpreted the mosaics of Gaudi from a modern perspective.
GAUDI GEOMETRIC FANTASY
This collection is a fall winter collection for girls between 8 and 14 years old. It is much more than a simple collection, it illustrates my vision of youth. I think it's important that each child cultivates his imagination, dreams, invents by discovering the world, the nature. Children have the most in- nocent and magical vision of the world. This vision is the basis of my collection.
MOODBOARD
The main inspiration for the construction of the silhouette is the duality between the not always symmetrical hyper geometry and the organic forms in Gaudi's work. I want to mix an idea of modernity and tradition. This approach is expressed for example by the reworking of traditional smocks to create volumes. The zero waste pattern also allows to play with wider cuts (bubbles)
SHAPES MOODBOARD
PLACED PATTERN
COLOR VARIATION
COLLECTION MAP
This project focus on a temporality clash, an analysis of cultural codes of different area and some possible links.
This sweaters are a combination of the Napoleon style mainly inspired by the paintings staging a form of propaganda around its supremacy and the modern streat wear. I wanted to question the symbols and myths of empire: war, honor, glorification, power. But above all to think about how these themes can be related in our society today.
LEGION
SWEATSHIRT PROJECT
Experiments materials reworked
OUATINE
PADDING
TOPSTITCHINGS
WIRE
FLEX & BEAD EMBROIDERY
SKETCHES
TECHNICAL
SWEATSHIRT WITH A REMOUVABLE DRAPPED CAPE
Cotton twill
with velvet finish
100% CO
- lightly fitted sweater
- hood with drawstring
- side seam opening at bottom of sweater and bottom of sleeves
- hemmed hem on bottom of sweatshirt and bottom of sleeves
- snap buttons
- removable overlock drape with reworked knit cuf
- bee motif in flex
- embroidered bee motif
- quilted bee pattern
SHOOTING
ILLUSTRATION
Created in the context of the end of year project of my history of photography course. This catalog contains works of artists that I put in parallel to talk about our digital identity.
BIG BROTHER OUR
IDENTITY
DIGITAL
Photography is a much more complex field than the simple production of images. This notion is even more relevant since the end of the 19th century with the development of the documentary and reportage photography. Today the photo and the video is accessible by everyone. Since the marketing of the camera at the end of the 19th century. This democratization of photo and video has been boosted by the development of digital technologies, which have put in our phones a lens of a camera. The new technologies and the web have totally transformed our relationship to the images. It now takes a predominant place in our daily lives. We are immerged in a continuous flow of images and videos. In 2021 every second on Youtube 500 hours of content are published, on Instagram 347 222 stories are posted, 1 400 000 people are making a video or a voice note. The question of measurement about our consumption of image is becoming more and more important. In the 20th century, the image has been used in a completely new way, with the advent of video surveillance. Conceptualized during the Second World War by the German engineer Walter Bruch, it was used in 1969 as the first urban security system, commercialized and implemented in a cities (first in the United States). According to the economic information company IHS Markit, the world have more than one billion surveillance cameras in 2021. The development of this technology has led to extreme practices. The term of «control by the image» can be used to qualify the social credit in China. The identity of Chinese citizens can be easily identified by these cameras, even with a mask, glasses, hood. This technology is also used in Italy, Germany, France to different degrees. Our physical identity is transformed into a digital identity, we are linked to a number, a line of code.
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