Wednesday, May 19, 2010
Madeleine Hay
This apparel collection was designed by Madeleine Hay using the textile designs by Oona Brangam-Snell. Using a combination of modern silhouettes and the apparel designs of 19thc Vienna, this collection strove to accentuate the female form with the strategic placement of this vivid textile print.
Hannah Woodard
Wiener Werkstätte: Jewelry of Dagobert Peche
Hannah Woodard
14 May 2010
Dagobert Peche’s jewelry pieces and ornamental metal objects were complex and whimsical, and color often played a key role in his stylized portrayal of plantlife and other nature forms. Coral, ivory and gold were a favorite combination of his, as were organic forms with geometric accents. This comb and veil were rendered with these design principles in mind. Adolf Loos and others would later criticize the impracticality of Peche’s designs- this I feel is expressed this more prevalently in the veil, which would be ridiculous to fabricate from metal as it would somewhat defeat the purpose of it being a dainty accessory. Both I think embody his aesthetic while also exploring further his ideas and interests.
Katherine Meng
Koloman Moser was influenced by natural elements along with clean geometric shapes. He often combined his motifs from his graphic prints or textiles with his jewelry designs. For my designs inspired by Koloman Moser, I combined his organic motifs with his imple clean lines.
Storefront Display Windows
We decided to focus on the various styles of well-known designers from fin-de-siecle Vienna. We created a modern context, a storefront display window, to emphasize the stylistic differences, arrangement of space, and the use of decorative materials of each designer. Our choice to do a department store display was influenced by Peche’s display window designs for Wiener Werkstatte affiliated stores. The display windows feature work by Adolf Loos, Josef Hoffmann, and Dagobert Peche, respectively. These designers were chosen due to their different philosophies and execution concerning decoration and design. The final presentation will include 3 full front views, and one three quarter view of the displays.
Stephanie Ross
Alyssa Wynans
Ivy Tai
Rachel Stern
In the spirt of the Vienna Workshops I have designed a pattern which I have then applied to a variety of types of objects. The workshops often developed one motif and then used it in fashion, interior, graphic, and industrial designs. There was also a great concern with timeliness in the work produced by the workshops. With that mindset I developed a patter that is highly decorative and lavish in the style of Degobert Peche but created its parts from images found online and of banal significance in our culture. The main pattern is constructed of a photograph of a woman’s hand’s with acrylic nails painted to represent various brands of junk-food chips while the flowers are constructed of gummy worms and McDonald’s emblems. It is my idea that if the Workshops were working in our culture today the work that they would make for our time would be seeking to find beauty in the existing culture (that of junk food, internet, and acrylic nails) just as much as they would still look to other cultures for influence (the mandala pattern which I have employed.) I have applied my pattern to various “customizable” online products as a deliberate break from the handcrafted idealism of the Workshops. I imagine that if the workshops were to come into existence today we are so far removed from the hand crafted object that it could no longer be a plausible consideration. Unlike Hoffmann or Peche who had a tangible connection to the much more recent past of the hand crafted object current society is so far removed from that and so vastly more involved in consumerism that such a system could not support it. WIth that in mind I have altered their mission for the purpose of my export so that it might become something that is aesthetically sound and conceptually in the spirit of the workshops while being more accessible and plausibly manufactured.
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