Our experiences built themselves according to our respective perceptions. The movement and the light are the main connectors. And it is why I was particularly interested in their perceptive consequences.
The garment is by the man training a kind of second skin for the user. It is the object the more able to inculcate him a perceptive experience. However, the garment is not really considered by the man, this one cannot feel his perceptive value. Thus, my purpose was to reconnect the man in his cloth. For that purpose, I narrowed my subject in an environment of contrasts in which the sensory experiences are the strongest: the mountain.
In that respect, I regained control of the main perceptive elements of the nature in a abstract way, so that the perceptor can discover by its various senses, and not by the assimilation representational artist, the resented universe.
The perceptible contrasts in the mountain are mainy; light, shape, colors etc. We thus noticed that by resuming the perceptive contrasts of the mountainous environment, we could inculcate the spectator the vibrations connected to his experiences sensory.
Besides, by assigning a shape of eroticism to the garment, by the realization of placed cuts on the erogenous zones of the body, the user would be integral with the various materials, the perceptive role, the touch would then be tenfold. By putting in contact contrasted materials with these zones, their perceptions will be stronger.
The garment is by the man training a kind of second skin for the user. It is the object the more able to inculcate him a perceptive experience. However, the garment is not really considered by the man, this one cannot feel his perceptive value. Thus, my purpose was to reconnect the man in his cloth. For that purpose, I narrowed my subject in an environment of contrasts in which the sensory experiences are the strongest: the mountain.
In that respect, I regained control of the main perceptive elements of the nature in a abstract way, so that the perceptor can discover by its various senses, and not by the assimilation representational artist, the resented universe.
The perceptible contrasts in the mountain are mainy; light, shape, colors etc. We thus noticed that by resuming the perceptive contrasts of the mountainous environment, we could inculcate the spectator the vibrations connected to his experiences sensory.
Besides, by assigning a shape of eroticism to the garment, by the realization of placed cuts on the erogenous zones of the body, the user would be integral with the various materials, the perceptive role, the touch would then be tenfold. By putting in contact contrasted materials with these zones, their perceptions will be stronger.
The re-exploitation of a raw material allows to create an emotional link with the user, by his history, sounds, places of origin or its own organic texture. This link can also get formed, giving move to a garment. By using the light, folds and the drape, by playing with the lines of the garment, or with the sounds of one material, we can give him some dynamism by their rhythmic oppositions. The garment will take life under our eyes by overriding the movement of the user.
The perceptive contrast will recreate an emotional link between the user and its garment, the user could manipulate it, play with it, with its fluidity, its metamorphic capacity. it will set contact with the material, will feel it, will listen to it, will touch it. And can become aware of the perceptive sense of the garment, the importance of contact between it and him, so physical as psychological.
The perceptive contrast will recreate an emotional link between the user and its garment, the user could manipulate it, play with it, with its fluidity, its metamorphic capacity. it will set contact with the material, will feel it, will listen to it, will touch it. And can become aware of the perceptive sense of the garment, the importance of contact between it and him, so physical as psychological.
look book
SKETCHES
