Tyve

Reflection of Fashion Design Guest Lecture 10.3.2010


Upon hearing the lecture on Danish fashion I am still a bit confused about what is exactly Danish fashion and what sets it apart from other fashion capitals in the world. It seems the government has put in sufficient funds and efforts to boost the Danish fashion industry which haven't changed Denmark's overall status. Perhaps efforts such as Fashion Week have helped Danes buy more Danish clothing. It seems however that the over-all Danish style is a truly complex mix of international styles thrown into a melting pot.

When I first came to Denmark I was shocked by the beauty of the Danish people. I had never seen a 6' tall women wearing heels riding a bike, while covered in beautiful firs, hats and scarves...all the while looking beautiful and making a 20 minute biking commute to work. It seems that almost each Dane has their own style and preference as to how one should dress. It seems climate has a natural effect on what items of clothing people wear on a regular, while each brand of item differs from person to person. Such as boots...everyone here has at least one pair of beautiful boots they wear often. When comparing Danish fashion to Danish Design I think it is an interesting that the climate here in Denmark has great, possibly equal effect, on how people live in homes and how people dress.

Danish homes are small and simple. They are designed to be functional and "Hygge." They do not show off peoples wealth with size or gaudy decor but rather subtle design decisions are made to show case important pieces of furniture or decor. Many Danish homes showcase the same important pieces of Danish designed furniture and style. Danish fashion seems to embody many of these same guidelines. In the US most people take pride in size and this is reflected in the size of our homes, vehicles, property and how we dress. In the US everything is about, in comparison to the Danes, cheap status. People have name-brands plastered all over the wardrobe to showcase what they can afford. There is no guessing or subtlety in American style. I have found it very refreshing to see styles of all shapes and sizes in the Danish culture. It seems the one similarity between all is that there aren't many logos or fashion brands smacked all over Danish clothing. It wasn't until the 1950s that the Danes started putting tags on their clothing to address whom the designer was.  While everyone seems properly dresses and well equip with fashion sense, people don't feel and overall need to be loud about it. It's refreshing.

Furthermore because the Danes have been brought up well aware of good design and appreciation for all arts there is an innate sense of good style. While the Danes may not have an obvious style that is coined as Danish, the Danes are for sure very styling. Everyone here seems to have a very good idea about how to best dress their body. It seems that possibly  not having a typical Danish style is what perhaps strengthens the Danish fashion industry. Uniqueness and subtlety is encouraged allowing great opportunity for the Danes to celebrate many styles and dress. 

Images listed above are designed by Danish fashion designer Mara Høgh Heilmann of label AYMARA. She has been quoted "In this modern, transient world, everything is quickly discarded. i wanted to create a product that endures, not just in time, but also in people’s hearts."


I felt this line was useful to show the connection between Danish ideas of lasting. Danish designers practice making useful, practical  tools for every day life that will last and improve quality of life. Heilmann seems to try the same in her line of clothing. There is nothing crazy or loud about her designs but her clothing is well crafted and she is familiar with the material used at hand. The quality of the clothing is what makes it beautiful and appreciated much like that of Danish furniture and architectural designs.

Nitten

Reading Reflections 9.3.2010 "Danish Fashion" by Marie Riegels Melchlor, Ph. D

Danish fashion design can be considered a late bloomer. It wasn't until the 1960s that Danes started to make a name for themselves in the fashion world. Previously to that time Danish fashion was influenced by international styles from larger fashion capitals such as Paris and London. It is important to note that the same foreign influences applied to design, craftsmanship and technology, that at this time had been highly influenced from abroad. Previous to the 1960s Danish fashion was more so related to typical peasant and folk costumes often worn throughout different regions of Denmark, aesthetics and colors varying throughout regions. Traditional costumes were based upon functionality and use. Because of Denmark's climatic conditions it is important that the clothes were properly constructed as to actually keep people warm. Much of the materials used in such costumes reflected the climate such as wools and also minx and fox furs. 

In the 1950s Danes started with a bit of amateur design often times copying and or buying patents off of designers from larger fashion capitals. During World War Two there was not enough  material to make strong individual designs and too much international competition. Danish designers had to think of a way to attract Danish consumers. At this point the Danes started creating designer brands of clothing and were highly provoked by the youth movement that was a current fad in America as well as England. The movement can be related to the time of when the Beatles swept the globe with fiery passion... the youth movement consisted of this idea that young people wanted to appear young, feel young and in doing so dress young and "hip." The clothes were simple, casual and clean cut. Unlike much of the bohemian styles related to modern Danish design these were simplified articles of clothing. At the time the shopping experience changed in Denmark as young people were able to sift through clothes with more options then before...Danes were given the freedom to individualize their wardrobe a bit more then in the past. 

Today the Danish attitude toward fashion is forward. Denmark's governmental system is working hard to try and promote Danish design in hopes that it will become a large industry for export. The current Danish style is much like that of all international style. The Danes have adopted the modern tradition of wearing jeans and t-shirts and supporting designers from around the world. The Danes in general are usually portrayed as happy, relaxed and open-minded people. This is associated both with the Danish appreciation for "hygge" and also the country liberal society. It seems that Danish fashion is a collaboration of Danish ideals and practices and also embodies the strong influence of nearby European and Scandinavian styles. While Danish Design has been highly established and branded since the 1960s it had taken longer for Danish Fashion to hold a strong place amongst other fashion capitals in the world.  It wasn't until the late 70s that Denmark established fashion magazines and even later that a Fashion school was adopted. As these things mature and develop Denmark will probably see more emphasis on what is Danish Fashion.

Atten

Lecture and Reading Reflections "Furniture for the whole world" Erik Moller

It seems that the typical Danish designer role has been to create for the masses...while all design types cannot abide by this standard most attempt to do so. Throughout time the Danish design market has grown significantly as it has become part of a global market. In the 1950's the Danish furniture design industry was worth 3 million kr and by 1973 it was valued at 725 million kr. The growth in furniture market coincides with the attempt of many designers, such as Kaare Klint, whom decided it was important for everyone to have accessibility to good design. With this idea developing Denmark also was faced with the industrial revolution in which mechanics and technology allowed for faster production of furniture.  These two elements can take responsibility for the Danish furniture industries success and growth . Several of the following designers were considered to push the international boundaries with designs that veered away from traditional Danish aesthetics and were appealing to a wide variety of users and types.

Arne Jacabson designed from the 1950s-1970s and his style was thought of as international modern, he being considered the Renaissance man of Danish architecture. He was a practicing architect as well as a professor and focuses on the total design of his architecture projects. Naturally he designed furniture as well. Throughout war periods he was super innovative with use of limited materials and resources. He was constantly looking to simplify his designs, strip away the unnecessary and find the best possible form. In the 50s there was definitely technology that allowed for bending of wood and steel however the production of furniture made of such materials was sped up with newer inventions. As technology improved however Danish production companies still set precedence on quality control and allowed only a certain amount of pieces to be created daily on a daily basis to ensure that the quality of a product did not falter. Though perhaps more modest then contemporary advertisements Jacabon's furniture was sold through sexy advertisement and quickly found it's way into the international market.

From 1929-1980 Pour Klaerholm focused on the placement of furniture within a space...the proper alignment of furniture to the relevant space. He used steel as a main material and focused on the pieces as sculptural elements. He often practiced day lighting studies to understand how a piece would look in a given space. He wanted to push the boundaries of material usage and the possibility of production methods.

In the 1960s and 70s Verner Panton explored retro furniture design as well as designing movie sets and textiles. He was considered to be stubborn in his design decisions as well as material choices. His aesthetic style was fun and he is considered to be "forever young." He pushed the use of new materials and forms...he was self-exiled from the standard Danish design world.  His S chair was possibly the first to be made entirely from plastic mold and posed the questions of why not not use other materials then natural leathers, woods and metals.

Nanna Ditzel designed from 1928-2005. She was considered to be the grandmother of Danish design. Her work was sculptural and pushed material boundaries. She started her career with the Cabinet Maker's exhibition. Her pieces could stand alone in a room demanding attention and thought of the viewer and user. She designed pieces that had a sense of lightness and humor like the Toadstool in 1962...a stack-able piece that was playful for children and easy to use.

Each of these designers started to produce furniture at a revolutionary time in Danish design. While all were formally trained under Danish design principles they challenged the standard system in material choice and aesthetic style. Their furniture pieces were secular and offered a new look at furniture design the appealed to many on an international level.

Sytten

Field Study Reflection #2 Danish Design Center Exhibit: It's a Small World.

3. Critique the exhibit as a whole in relation to the same goal/thesis that all the works in the exhibit are subjected to. For example: Do you feel the exhibit as a whole is successful in re-defining and/or expanding the role that design plays as a means of solving problems in a world with global challenges? Moreover, ask/answer: Why this topic for an exhibit in DDC at this time in DD history? Is it all just Propaganda + Branding? Or is this truly forward thinking/making? Does the exhibit itself embody the ideas&ideals that it preaches, or does it stay within an older, prevailing model of ‘design’? Is the exhibit itself —and as a whole— to be seen/experienced as ‘Dansk Design’? Is it an open & interdisciplinary platform for a new design debate? Do you feel that the exhibit inspires visitors (you), and influences the definitions of ‘design’ towards a sustainable future? Etc…

The stated goal thesis of It's a Small World is as follows "The exhibition ”it’s a small” explores new perspectives in Danish design, craft, and architecture. With a focus on Sustainability, Human Scale, New Craftmanship and Non-Standardised Praxis, the exhibition challenges the traditional role of the designer. Six interdisciplinary scenarios seek a new relevancy for design - in the world. The exhibit was a great exploration of different facets of contemporary Danish design and where design is perhaps going in the future. The exhibit showed design elements from a documentation of a bike-side exploration through Kobenhavn's streets to that of furniture design and also hybrid plug in cars. Each piece in the exhibit was accompanied by an explanation of the piece and each encouraged viewers to participate. I will come back to the participation factor as my main discussion point in a bit. It was great to see a wide variety of design elements such as the BIG architectural movies as well as the furniture designs by Cecelie Manz and Louise Campbell. I think it is an appropriate time for any design center anywhere to address sustainability as an important factor in contemporary design movements...it is our future and creating a sense of awareness through exhibits is not only thought provoking but allows the common person, unaware of sustainable initiatives a chance to explore design choices they make in their own lives...which cars to buy, which furniture to sit in, which home they make and chose for their family, which mode of transportation they take to work etc.

When we visited in a group of 4 we found ourselves having an extremely enjoyable time in the exhibit. We spent quite a lot of time on swings and running through the car-wash strips like we were children. We sat and watched an anonymous biker travel through the streets of Kobenhavn entirely entranced by the setting and mood of the video...it was almost as though we were on the bike ride and though the streets were familiar we walk them rather then bike them...it made the idea of biking seem welcoming and somehow more intriguing then our daily walks to class.  The text placed around the exhibit was put in lame-mans terms so that everyone can understand the meaning of the pieces and design intents.

The title of the exhibit I feel holds a certain meaning that could be over looked very easily. When I think "Small world" that means "Big role" for an individual. While we are all part of this large place...the idea that the world isn't all that big gives each individual the idea that they can play an important part. If as a global society we will ever get on board with sustainable initiatives and life styles everyone needs to feel that they are playing an important role in changing our world. If it is truly a "Small world" that we live in we can each participate in an important global change. The idea that we can all participate in this is intertwined with the greater idea behind the DDC exhibit. I thought it was great that the viewer is encouraged to watch movies, to use cards to start movies, to sit on the furniture, to play on the swings and to use the space as a tool of education. When giving the viewer this option they become an important part of the design exhibit on the smaller scale, and on the large scale their eyes are opened to options in which they may partake in the future. If the designed elements were behind bars in caged in glass the viewer would feel that they designs are not applicable or approachable by themselves. It is important they viewer sees and approaches these designs as accessible amenities and tools to aid their daily lives.

Furthermore the idea that the viewer can access these designs is what traditional Danish design strives to achieve... good design for the masses. So perhaps maybe their will be wide shift in the future as to what is considered good design. Maybe the "Small World" exhibit is laying out the foundations for structure for what we can expect to see in the future. While in the DDC we became an important part of the exhibit just as we will all individually play big roles in transforming the design methods towards sustainability in the future.I felt the exhibit inspired subtly. Rather then smacking one if the face with what should and shouldn't be done in the future it gently allowed the visitor to experience design ideas and take from the exhibit what one wanted. Personally I left with a paper Dansk flag and a bruise on my shin from the swing...but also a feeling of interest. I generally get quite bored in museum exhibits and feel restless in a space for two long. This exhibit captured my attention and held a variety of information that was applicable to many facets of life. I think it was for sure successful in its attempt to see the relevancy of sustainable design for the world, and more importantly the common person.

Seksten

Symposia #5 Reflections Tradition & Modernity

1. Find an object at home of Danish design (preferable something that you've used or bought here) that is aesthetically pleasing but turned out to not be very functional. discuss why it didn't work properly and how this relates to the designer understanding material and craft.

I haven't purchased many Danish designs yet as most of my money  has been spent on food and beverage. Because I am a bag girl I have chosen to compare two different items I have used since being in Kobenhavn. One being that of a Thai decent and the other a manufactured piece "Made in China." The first is a hand crate bag which was given to me as a gift given to me when I was 15 years old from my best friend Nattapong Tassawong. His neighbor at home in Bangkok hand crafts and sites beautiful bags. It has lasted me nearly 6 year without any fault and holds a certain amount of sentimental value. I have used and abused it and it has continued to stand the test of time. It's aesthetic qualities are beautiful and equally it has functioned. Being  more of a satchel it fails as an organizational tool for travel...while it suited me at home perfectly for a purse-like item it wasn't going to do the trick for traveling. After 6 years of use I decided it was time I buy another bag to bring with me on my journey to Kobenhavn. Upon purchasing my off the rack TJMaxx find designed by Franco Sarto I wasn't expecting anything too extravagant. It's synthetic materials and less the perfect design was good enough for me. In the two months that I've been here it has worked as a tool of transporting and organizing my goods, however has lost a zipper and suffered several stains and tears.

I think it safe to assume that the Franco Sarto bag was designed and produced without much thought to the materialization and longevity of the bag. It was designed as a travel item and probably won't last me forever. In comparison to a hand crafted bag from Thailand the material knowledge and thought put into it probably wasn't as significant. It certainly isn't as special as one of my classmates from Virgina has the same exact bag while I know no one has the same exact Thai bag that I do. Both bags are probably worth around the same amount of fiscal value. We've talked about the aura of a hand crafted piece and the sentimental value an original holds. Under those judgments of value my hand crafted Thai bag for sure is more valuable as is the quality and craftsmanship better. If I were to loose the Franco Sarto bag I wouldn't care less, whereas if I lost the other I would be devastated. The person who created my Thai bag understood the material they were working with and created a piece that is irreplaceable, aesthetically pleasing and functions well. I think that the understanding of material directly relates to the quality of the products and my satisfaction of the design.    


2. Lookring towarrds the future: What possible changes in industry would lead to a change in the relationship between designers and manufacturers? Are there no new designs as the authors emphasize in the readings, where all new designs are based strictly off of designs pre 1970's, or do you think there is a new eco-friendly and innovative Danish designs that help the world?

I think most importantly in the future will be the understanding of materials from a designers stand point as well as the manufacturer and the communication between both parties in the design process. As we switch our designing and production methods to that of which are more sustainably sound we need to thoroughly understand the nature of the materials we are using. As new products and materials are being developed it is important we understand their last effects on the environment and those whom come in contact with the products. While a designer might chose the right material for a product, like lets say and all natural fabric covering for a piece of furniture, the sustainability of the piece could be completely shot when the manufacturers use machines that pump massive amounts of CO2 and pollutants into the air.

I think that we will continuously look to the past for design ideas. As we've mentioned in class many a times what can be done has been done etc...however I think with the environmental challenges ahead we have an opportunity to redesign and rethink the way we make things. While perhaps the styles and shapes of our furniture may not change, the way we build them, the materials used to construct and adhesive them, the way they are shipped and the way they are treated when we are through with them can all change. In that the design industry has the ability to be reshaped and molded into a new more environmentally sound system. I think as designers it is important to not only think about our designs but how these designs can be produced...how these designs effect the user and how these designs can last and be recycled when we are through with them. While designers once thought of designs for all people we must now think of designing for all...people and equally importantly earth.

Femten

ExPPermenter, Handvaerk og Experimenter fra PP by Hanne Kjaerholm Danish Design Center

This article mainly focused on the major craftsman in Danish Design and elaborate on each of their specialties and roles as designers. The article highlights the importance of traditional craftsmanship and it's influential  place in Danish society today. Hans Sten Moller is quoted best in the article "The magic of the workshop- Where hand and mind unite." It seems the general appreciation for hand craft is the intimacy between craftsman and material that is lost with mass production and industrialization and that given craftsman and designers embody best. Some of these characteristics include focus on quality, identity, creating community and working cohesively with each other and those they are creating for. Often times with craftsman there is a very cohesive work environment between the designer, the craftsman and the producers. If there is not the designers original intent and design initiatives are lost in translation and the intimacy that should be transferred from designer to consumer is entirely lost. The article speaks of several important designers...

Hans J. Wegner speaks animatedly about the importance of the workshop and enjoys paying visit to PP Mobler in Allerod...a workshop he has followed for nearly 50 years. Wegner grew up in a workshop watching his father make shoes in Tonder. Here Wegner learned how to handle tools and understand the nature of wood. Surrounded by other workshops Wegner learned much through a close knit group of craftsman.

PP Mobler, established in 1953 by brothers Lards Poder and Ejnar Pode, is one of the few joinery firms left anywhere in Denmark. Both were trained as cabinet makers. Their workshop was based on the principles of hand craftsmanship with extreme attention to material, function and form. While remaining true to their intent the brothers were open to experimentation and enjoyed working closely with other designers and craftsman to come up with new designs and ideas.

Nanna Ditzel is considered the grandmother of Danish craftsmanship and furniture design. She collaborated closely with Ejnar Pederson of PP Mobler. Nanna focused on creating sensible functional designs while also contributing a renewed sense of space and form. Her pieces were quite sculptural and could stand alone in a room, able to make a beautiful statement.

Kaare Klint was one of the first designers to change the focus from production for the individual  to production for the masses. He studied the way people live and what is truly necessary within  the home. Some could say that with this transition from individual designs to designs for the masses  there is a loss of culture expressed in design. However it was his ideals to design for the masses that made it affordable and practical for all to have accessibility to good design.

Today's modern design industry focuses mostly on money and efficient production. With this focus much of the intimacy of latter years is lost. In today's design society there is less knowledge of construction, materials and production. Whereas in the past students like Wegner learned by watching and handling materials, today students are not challenged with practical learning. While we may read from textbooks and create models of our studio projects we are not truly familiar with the materials by the time we're finished with our education. We are placed in the market place without much of an idea as to how we should really be designing. While modern industry allows for the masses to have accessibility to design it may not be quality. Where a design society once set precedence on quality not quantity we are beginning to see a transition to a society that is focused and dependent on quantity not quality. The entire idea that all could have accessibility to good design is lost if the quality of design is faltering.