MARIA BLAISSE

spheres

source: suzannatite

As part of my project dissemination I plan to evaluate the practical work I’ve produced and re-contextualise it; discussing whether its relevance is within performance, art, catwalk or commercial fashion.

To assist with my investigations and conclusions I’m exploring different concepts of fashion and performance – initially looking at garments that become part of the choreography and how the form of clothing contributes to the performance. It is Blaisses investigations into the development of garments that engage with the input of the wearer and their relationship with the qualities of the materials used, that interest me most. The resulting outcome are sculptural pieces of clothing that produce a kinetic energy that is generated from the dynamic shapes that Blaisse places around the body; enlarging, restricting and extending shape and movement. This relationship lends itself beautifully to use in dance performance, in 1989 Maria Blaisse designed the costumes for the Dutch National Ballet production ‘Spheres’. The spherical costumes that were worn were produced from vacuum shaped industrial foam. The dialogue between the wearer’s body and the garments worn by the performers were of great importance. In 1996 costumes were created for the dance performance Kuma Guna. The garments were created using elastic foam that was specifically developed for use in this production. The garments created focused on the stubborn qualities of the material, with the costumes trying to find their counter balance of the strength of the human body.
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source: emilyjcooper

Maria Blaisse was born 8th May 1944 in Amsterdam. She graduated at the Gerrit Rietveld Academy Amsterdam 1968. Two years later she was a participant in the design studio of Jack Lenor Larsen New York. After this she did research on traditions of textile techniques and natural dyeing of fibers in South America for 2 years.

From looking at her work, you can see it has a very strange costumes and sculptural feel to it. In many cases, it is difficult to determine which is in control: the body or the form, (Often it looks to be a little of both.) Blaisse resides firmly between the disciplines of art, design, textiles, and fashion. Her work is an investigation of form and material.

A lot of her work has a strong element of design, art and movement and is composed of five delicate structures that stand as costume and sculpture, expanding, contracting, bouncing and shifting, easily manipulated during improvisations and performances, exploring the body as a critical element in the animation of material and form.
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source: itpaperblog

“Maria Blaisse (8 May 1944 Amsterdam) graduated at the Gerrit Rietveld Academy Amsterdam 1968. Two years later she was a participant in the design studio of Jack Lenor Larsen New York. After this she did research on traditions of textile techniques and natural dyeing of fibers in South America for 3 years.
Her projects can be understood as sculptures or costumes. In many cases, it is difficult to determine which is in control: the body or the form. Perhaps more clearly than any other artist, Blaisse resides firmly between the disciplines of art, design, textiles, and fashion. Her work is an investigation of form and material. The results have found homes in the theater, on the fashion catwalk, and in the art gallery”.
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source: trendzpl

Niektórzy mówią, że cywilizacja została zbudowana na wynalazku kola, ale dla duńskiej designerki Marii Blaisse, to co znajduje się w jego środku liczy się bardziej. To właśnie przy użyciu gumy z dętki, powstała większość jej projektów takich jak: rzeźby rożnego rodzaju ubrania czy stroje wykorzystywane przez tancerzy. Proste struktury na których się opiera mają być przede wszystkim odzwierciedleniem naturalnych kształtów. W latach osiemdziesiątych, to poduszki wszywane w ramiona były najbardziej ekstremalnym kształtem jaki można nadać sylwetce. Dzisiaj designerka stworzyła sferyczne unisex kostiumy, które wydaja się kontrolować noszącą je osobę. Jak sama przyznaje wpływ na jej twórczość miała współpraca z japońskim projektantem Issey Miyake. U niego zgłębiała różnorodne dziedziny takie jak muzyka, taniec czy wiedza o naturze. Bo właśnie między nimi nieustannie dochodzi do interakcji. Kształty, które powstają z tej współzależności są niezwykle silne i pełne energii życiowej. Obecnie pracuje dla firmy Camper nad projektem butów. Swoim kształtem przypominają one literę C.Jak sama mówi to niezwykle wygodne i świetnie leżące botki, których noszenie daje wiele zabawy i zachęca o bycia bardziej kreatywnym. Podobne odczucia mają tancerze, pracujący z przedmiotami zrobionymi z bambusa. Ciało musi wyczuć jak daleko może się posnąć, aby wymusić na materiale reakcje. To rewelacyjna współpraca ciała i materii. Maria Blaisse to niezwykła wizjonerka, która potwierdza, że tylko w połączeniu wielu dziedzin i nauk życia drzemie wielka siła tworzenia mody czytaj więcej.
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source: mariablaisse

“Form forms forms. Embedded in the material, the form reveals itself. To experience the freedom of not giving a name to things. To see what emerges from one form. Inciting the flow of continuous creation. No waste, no loss of energy, alert and alive.”