Iris Van Herpen Exhibition Utrecht

The New Craftsmanship Iris van Herpen? and her Inspiration With my get going I intend to show that fashion can sure enough have an added value to the world In the Centraal Museum of Utrecht, Netherlands, renowned fashion designer/artist Iris van Herpen (1984) exhibits a lastly personal side of her work for the public from 29 June until 9 October 2011. By contrasting her designs with what worked as the inspiration behind them, van Herpens futuristic approach to fashion is displayed with art go out back to the sixteenth to the nineteenth century creating an unusual opposition in the general mood of the show.In addition to a contrast between old and new, one will also find work by other contemporary artists that have inspired van Herpen or collaborated with her. These include artists such as American-born cutter Kris Kuksi Dutch choreographer Nanine Linning hat designers Stephen Jones and Irene Bussemaker Dutch artist Bart Hess who shares van Herpens futuristic approach in his wor k and architect Daniel Widrig whose main bow in the show was with 3D printing. Upon entering the exhibition one enters a calm space with soft music playing in the background.Looking up towards the high raised ceiling you can see Nanine Linnings opera inspired performance piece with van Herpens extravagant costumes and haute couture creations in larger than disembodied spirit projections on the bare white walls. Below these displays one would find the original costumes as seen in the performance. Referring back to the contrast between old and new, or rather ancient and innovative, it was interesting to note which of van Herpens designs were paired up with what ancient artefact and why.Leaving the theatricality of Linning behind, the show carries you away from the modernity of projectors through to a series of antique items including a bookshelf, chairs and tables as well as paintings by the popular Parisian painter Pierre Joseph Sauvage and an expensive silk wall panel from Lyon i n France. These were shown next to one of van Herpens more wearable garments, a dress, which could be assumed to be made of fabric containing metal threads, having been concentinaed to create a voluminous shape reminiscent of coral reefs. Similar to the layout of the exhibition, VanHerpens approach to fashion stems from the interaction between handmade, an old-fashioned method of construction, and innovation, through constant avocation of new techniques and materials. One of van Herpens most recently discovered techniques is a form of rapid prototyping called 3D printing. This technology came into use in 2003 principally for duplicating valuable artefacts for museums. Cleverly, through collaboration with architect Daniel Widrig, van Herpen uses this technology to create what looks like sculpted dresses or headgear, once again reminiscent of the shape of coral reefs or some sorts of skeletal forms.This side of van Herpens collection was shown alongside work of goldsmiths form the seventeenth-century. This juxtapose truly emphasized the origins of the inspiration for her designs. thither was an apparent connection between the auricular styled crockery, plates, crowns etc. and her laser sintering technique. With further regard to the 3D printing technique, the designer herself believes, it is a matter a clock before we can print the clothing we wear today.It is truly inspiring to see an artist of such a young age arise something that has the prospects of having a massive impact on the industry itself and, well, everything really. If we can produce our clothing with 3D printing technology, maybe we can also produce furniture through the same process, or even houses, maybe even bridges and buildings. Just imagine As for the overall impression of the exhibition itself the concept and falsehood behind it was thoughtful and interesting, the layout was appealing, and the work itself was beautiful and innovative.