walkin' to the Upbeat: 2012

Last week Phoebe and I interviewed Elisha Quintal, designer of The Butcher and the Crow and also one of our former lecturers ;)

Elisha has an amazing style. She uses the hand dying method called shibori and individually dyes each garment. It's a time consuming task she does on her own, using beautiful silk habutai and occasionally other fabrics, creating drama in simple, yet elegant designs.

When did you first want to be in the industry?

Probably at the age of 14. I have a distinct memory of being in art class and knowing that that is what I wanted to do - make clothes. However the plan didn't really come into fruition until 11 years later. After studying art and then moving into fashion.

How would you describe your signature style?

Unexpectedly feminine, with an appreciation for the hand made and its processes.

What is important to me is that my label carries a sense of uniqueness. That it is not mass produced fast fashion. The garments are carefully hand dyed rendering each one unique.

Does anyone inspire you? How?

There's lots of people that I take inspiration from; Artists like Lee Ufan for his quite simplicity.

Designers like Damir Doma for use of fabrics, falls, layering and drapes on the male form.

Junya Watanabe for his organic tailoring and colour pallet.

Textile artist Shindo Hiroyuki for his exquisite application of indigo dyes.

A lot of people inspire me for different reasons.

Lee Ofan 'From Line', Damir Doma FW 2013, Shindo Hiroyuki 'Shindigo Space 07'

What is your creative process? How do you get your initial ideas?

I have recently noticed it that a lot of the influence for my colour pallet comes from travelling. My new collection 'The Walk to Hanging Rock' is reference to the dark rustic oranges from the Australian landscape. Looking back, a trip to the Kimberley's a year earlier had sparked a point of interest for this collection.

I generally start with a colour pallet that I choose through story booking. I then start sketching and toiling. Here, this is where a lot of the refining process happens, for the silhouette and drape of the garment.

Then after a lot of tweaking a collection will start to appear.

Do you visualise branching into the international market in the future?

Yes, eventually. For now though, after completing my post graduate studies last year, I am happy to let the label grow step by step.

What are your plans for your brand in the next few years?

To eventually branch out into an international market. Start exploring options to have my dyeing done by dye masters in India and grow the collection to a larger body of work

Skull print singlet

Dual singlet in silk habutai, wool jacket

1900's

Starting with the 'S bend' shape, the era encouraged partying, consumerism and travel. Along came Poiret in 1903 to loosen the stays of corsetry, gracing women with the Empire line dress. Oriental inspired and Grecian-like, the emphasis came under the bust, with the dress falling softly to the ground. Embellishments came in pearls, jewels and tessellating patterns. For the less financially fortunate, Selfridge's put full-page ads in The Times, and mail order offered patterns to dressmakers and home sewing.

Lady Randolph

Alice Terry

Erte

Emanuel Ungaro SS 2009/10

Jean Paul Gaultier

1910's
Fashion sobered up at the outbreak of war. Clothes were simple as women joined the workforce. Dark clothes and loose fitted skirt suits reflected the sombre mood. Hemlines rose to stop at the calf and wider hems gave the ability to stride out. Fleeing from their countries, wealthy women went to milliner Gabrielle ' Coco' Chanel. The glamour line went from the bust to just above the hip thanks to Vogue, Women's Wear and practicality.

Harrodian Ladies Football Club in Barnes

Munition factory workers in 1915

Agyness Deyn by Steven Meisel

Photo by Steven Meisel

Junya Watanabe

1920’s

The Roaring Twenties was a time of celebration. With the First World War over, women began to experiment with their bodies. In came boyish looks; sailor trousers, blazers, short hair, flattened breasts and a penchant for exercise. In came jazz music to encourage the short-skirted Flappers, art deco and cubism for the free-minded artists, while Chanel brought out her No.5 perfume which didn’t smell at all like a flower.

Coco Chanel in 1929

Gertrude Lawrence

Chloe

Gucci

1930’s

With the invention of “Talkies” in 1927, the 30’s became a glamour-dream decade. The public could go and see their idols talk, expressing their love and opinions in beautiful dresses while wafting around an elegantly furbished room. Afterwards they would seek to emulate their favourite looks; the Letty Lynton and the Scarlet O’Hara, while getting shocked by a suited Marlene in ‘Blonde Venus’.

Dudeney Dresses

Joan Crawford as Letty Lynton

Chanel

1940's

The Second World War called for ladies to give up their luxuries of silk and golf balls to make way for an era of DIY fashion. With men on the front lines, women had to take over the work back home. Their clothes were durable and practical, the colours sharing Vogue's patriotic stance to encourage hope. Skirts became shorter and waists came in to save fabric. Military styled mix-and-match suits became the norm in Europe, while America became the fashion capital for evening wear.

Private Hardy Amies puts the finishing touches on a skirt at Lachasse, before returning to duty

Actress Veronica Lake was asked to cut her hair after women who copied her 'peek-a-boo' style, got their hair caught in machinery

Haider Ackerman 2012

Balenciaga 2005

1950's

After the success of the dolls from Theatre de la Mode, Paris was once again the fashion capital, with Christian Dior leading the way with the dreamy 50's silhouette. Nipped in waists and voluminous dresses completely disregarded the post-war poverty. Balenciaga stuck to practicality with a more feminine edge, while Chanel was relaxed, comfortable and non-restrictive. Gone also were the days of couture. The mass marketing that began in the war era continued with Chloe and Pucci launching upmarket, ready-to-wear clothes.

Dior in the 50's

Marilyn Monroe in 1954

Dior A/W 2007-2008

1960's

In 1960 Yves Saint Laurent left Dior and took street styles to a new level, with beatniks and pop art inspiring his 1961 collection and the bag dresses from the 50's transformed in a new silhouette. In London, Mary Quant introduced the mini, and skirts and shorts quickly began to rise. With The Beatles, television, drug experimentation and space, youth culture began to influence the fashions like never before and materials like plastic, metal and paper became the norm for garment textiles.

(Left) Dior's Sack Dress, (Right) Yves Saint Laurent's Mondrian inspired dresses

Grace Coddington in 1966

Abbey Lee Kershaw in Alberta Ferretti for i-D

Missoni

1970's

Woodstock, the Vietnam War, LSD and flower power began the era of free love and free fashion. Designers were influenced by different cultures, thanks to cheaper air travel. But it was the music stars who set the trends. David Bowie, Brian Jones and Keith Richards were wearing printed satins and glam rock outfits made from pre-war corsets. Men and women grew their hair long and flares became the street uniform. Second-hand uni-sex clothes were in and continued to the end of the 70's when The Sex Pistols, Vivienne Westwood, Malcolm McLaren brought in punk and Zandra Rhodes put designer safety pins on the catwalk.

Yves Saint Laurent's African Safari Collection

David Bowie as Ziggy Stardust

Farrah Fawcett

Marc Jacobs 2012 Campaign

Vivienne Westwood

Punk in Harajuku, Japan

1980's

Money circuited fast around the 80's. Labels covered their garments in logos. Faux Opulence was the birth of glittery glamour. Margaret Thatcher was the epitome of power dressing. The New Romantics influenced John Galliano and Vivienne Westwood with frills. Katherine Hamnett stamped slogans on T-shirts. Jean-Paul Gaultier put underwear on the outside. Music, club scenes, runways, politicians and zines like i-D all had an impact in the fast-paced trends.

Princess Diana in a 1983 power suit

Dolce and Gabbana's power dressing collection in 2009

The New Romantics: Spandau Ballet, Adam Ant and Boy George

Yohji Yamamoto's Japanese style was revolutionary in the 80's, loose and cut in a way never seen before

Debbie Harry from Blondie in a Katherine Hamnett slogan T. Hamnett now focuses on slogans with a more ecological political view

1990's

The decade of

Gangsta/Hip Hop style. Baggy clothes and sideways cap. Made even more popular by Will Smith in 'Fresh Prince of Bel Air'. Made unpopular by Vanilla Ice
Grunge. Dirty jeans and t-shirts for those of the lower working class. Kurt Cobain made it trendy
Glitter, animal prints, platforms and mini skirts. All at once. Spice Girls. (I was always Scary)
Hairstyles came from the best of Friends. Rachel, Joey, Phoebe, Chandler, Monica, Ross
Rollerblades, Dr Martens, and Jellies were the shoes to wear