Pernille Holm Textile Designer by holmdal petersen

Pernille Holm

It is in the dynamic space, where tension between art and craft, is confronted with an ever changing reality, that new ideas emerge for Pernille Holm.

PERNILLE HOLM TEXTILEDESIGNER

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Haute Couture

Film/Theatre

Industriel Design

Sampels / Artwork

PERNILLE HOLM TEXTILEDESIGNER

Profile

PERNILLE HOLM TEXTILEDESIGNER

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Textiledesigner Pernille Holm

Text SUSANNE HOLTE

Contrasts are very much in play in the works

dimension, one that occur expressly in the

of Danish textile designer Pernille Holm. Her

collision, or interaction, between the materi-

works embodies a dynamic dualism - inher-

als, their textures and colors.

ent contradictions, - clearly reflected in her expressive and personal fabrics.

It is in the dynamic space, where tension be-

tween art and craft, is confronted with an ever

Her complex nature, evident in the com-

bination of the sensually exotic, the functional

changing reality, that new ideas emerge for

and the rational, can be partly attributed to

Pernille. Recently, during a long trip to Rio de

her upbringing in Africa, but also to experi-

Janeiro, she invited a group of street children

ences in Paris, New York and Rio de Janeiro,

and young people, to take to the city’s colorful

combined with a deeply rooted sense of

streets with her, intent to create immediate

connection to the simplicity and serenity of

and spontaneous designs and textiles with

Scandinavia, making Sweden provide a solid

their inclusion, aiming for a manifestation

base in later years, with the establishing of

that perfectly, and inevitably, would reflect

a large studio in the middle of the southern,

the colorful, multicultural charge rising from

Swedish countryside.

them working together.

The final result of this “street art event”

Her colors, textures and surfaces are

clearly inspired by her great love for the Scan-

became a vibrant collection of colorful silks,

dinavian and Greenlandic nature, but also

presented at the Brazilian Catwalk.

reflect a deep veneration for the African conti-

nent. Her childhood years in Tanzania, grow-

and the process released a new and power-

ing up with views of the Kilimanjaro, playing

ful energy in Pernille’s artistic ambition - and

in the red mud under the banana trees, the

similar projects will be repeated in the near

natural warm colors of the African realm,

future, under new, exotic climes.

This “freestyle” idea, was a huge success,

the green of the vegetation and the dry, burnt surfaces; it is all profoundly and comprehen-

The result of the Rio project did not only pro-

sively rooted in Pernille’s subconscious, and

duce new, exiting textiles, but it also satisfied

greatly affects her artistic expressions.

Pernille’s ambition in that it spurned building

Melting deep inspiration from nature’s abun-

bridges between cultures and along the way

dance with an affection and affinity for the

established a creative platform, from which to

world’s cultural diversity, Pernille has created

communicate across language barriers and

a unique and very personal design universe,

social divides.

in which she channels her impressions of the world through vibrant, electrifying fabrics.

Pernille effortlessly masters many different

working techniques and she has a strong, in-

Her work is executed with a razor sharp

focus, without letting forgo of the freedom

tuitive feel for the substance and the inherent

of experimentation. She works tirelessly to

potential of her materials.

ensure inclusion of an organic expression,

and to create a soft and tactile connection

experimentation and is she never afraid of us-

between exterior and interior impressions of

ing unconventional materials, such as sand,

space and sensations. One of her methods

stone or broken glass in her fabrics.

is to create textiles with a three-dimensional

This enables her to venture fearlessly into

Even traditionally, precious commodities,

Pernille Holm T: + 45 5050 2712 M: mail@pernilleholm.dk Contact

such as fur, leather, silk and velvet, find new

Back in Denmark, she also began receiving

use and a sharp, modern edge in Pernille’s

assignments of a more commercial nature;

hands, and she demonstrates a very confident

among them industrial designs for The Dan-

sense of aesthetics, regardless of whether

ish Railroads, DSB, contracting her to create

she revels in over-the-top decorative effects

new pattern designs for the seats on the

for a Haute Couture gown - or is striving to

new S-trains, - and she was asked to create

create an understated, ultra thin curtain for a

designs, curtains and interior textiles, for the

commercial space.

newly built Hotel Marriott Copenhagen

Pernille’s most indelible strength as an art-

The result is always a very personal and

organic expression, one that contains a fasci-

ist is that she is able to create a dramatic,

nating sensuality, without necessarily trading

epic tale in a dress, in a costume, a piece of

away elements of the tightly controlled and

furniture or a lamp shade, while also master-

the contemporary.

ing the simple touch, the precise, naked expression, which become the more stringent

The intuitive is trading blows with the

spaces in modern architecture – whether she

discipline of craftsmanship in the work-

is working with curtains, upholstery fabrics,

shop, where her unique, handmade textiles

acoustic panels or room dividers.

are made. Usually in very small quantities,

intended for haute couture or set-designs

a given space, surface or function, or to pro-

for some of the world’s largest theater and

vide a dialogue between space and the human

dance company’s, such as the Danish Royal

experience, she rises to the occasion.

Theatre, for which she created 300 yards of

hand-printed textiles for the set of Sleeping

express something very special. They come

Beauty, or The New York City Ballet, for which

alive in surprising ways, in cohesion and

Pernille, a few years ago in collaboration with

interaction with the functions they are created

renowned, Danish artist Per Kirkeby, created

to fulfill, practical, aesthetic or artistic.

and designed the textiles for that company’s

staging of the ballet, Romeo and Juliet.

contain the same properties as most good art,

when they are made with care and precision

The world of opera has influenced

If the challenge is to relate specifically to

Textiles from Pernille’s hands always

She recognizes that textiles inherently

Pernille’s professional life in many ways. The

and are designed with a basic desire to create

first time was when she graduated from the

quality and beauty.

Danish Design School in 1990, and through

a friend at The Paris Opera, gained access

custom made and produced individually to

to a couple of the French fashion houses.

suit any purpose.

There she met with the influential, French Couturier, Christian LaCroix, who was more than thrilled with Pernille’s imaginative textile designs and technical skills. It became the beginning of an exciting collaboration, with the subsequent development of fabulous fabrics, created for fantastic, haute couture dresses.

In Pernille’s able hands they can also be

Studio located on 20,000 square metres on a renovated farm in Sweden

Haute Couture

Christian Lacroix Paris La Maison Danoise, Paris Copenhagen Dresses The Queen of Denmark “City of God” freestyle, Rio

Haute Couture

Christian Lacroix Paris La Maison Danoise, Paris Copenhagen Dresses The Queen of Denmark “City of God” freestyle, Rio

The Mandarin dress, silkvelvet devorĂŠ for Christian Lacroix Haute Couture, Paris

Haute Couture

Christian Lacroix Paris La Maison Danoise, Paris Copenhagen Dresses The Queen of Denmark “City of God” freestyle, Rio

Christian Lacroix sketch, Paris

Black silkvelvet devorĂŠ for Christian Lacroix Haute Couture, Paris

Haute Couture

Christian Lacroix Paris La Maison Danoise, Paris Copenhagen Dresses The Queen of Denmark “City of God” freestyle, Rio

Christian Lacroix Haute Couture dress 1997. Aquacoloured triple silk cloque with flockdots􀁕􀁙􀁅􀁇􀁓􀁐􀁓􀁙􀁖􀁉􀁈􀀃􀁛 􀁍􀁘􀁌􀀃􀂾􀁓􀁇􀁏􀀃􀁈􀁓􀁘

Christian Lacroix Haute Couture dress 1997. Acidcoloured satinsilk, plain & cloqued.

Haute Couture

Christian Lacroix Paris La Maison Danoise, Paris Copenhagen Dresses The Queen of Denmark “City of God” freestyle, Rio

Christian Lacroix Haute Couture dress 1997. Acidgreen tripple silk cloqué Nickname the big ”lettucehead”

White devorĂŠ Copenhagen dress, donated by the artist to Designmuseum Danmark 1997

Haute Couture

Christian Lacroix Paris La Maison Danoise, Paris Copenhagen Dresses The Queen of Denmark â&#x20AC;&#x153;City of Godâ&#x20AC;? freestyle, Rio

Rags & tatters Copenhagen Dress, donated by the artist to Designmuseum Danmark 1997

“Absalon” Copenhagendress

Haute Couture

Christian Lacroix Paris La Maison Danoise, Paris Copenhagen Dresses The Queen of Denmark “City of God” freestyle, Rio

Katarina – Copenhagen Dress, acquired by The National Museum 1997, Cph Black silk velvet devore´over lime satin silk

Haute Couture

Christian Lacroix Paris La Maison Danoise, Paris Københavnerkjoler The Queen of Denmark “City of God” freestyle, Rio

The Golden Lady From exhibition in La Maison Danoise, Paris

White organza with sand La Maison Danoise, Paris

Rio “freestyle” minidress, multicoloured silkcloque

Haute Couture

Christian Lacroix Paris La Maison Danoise, Paris Københavnerkjoler The Queen of Denmark “City of God” freestyle, Rio

Rio â&#x20AC;&#x153;freestyleâ&#x20AC;? handpainted fabrics, made direct on the ground in City of god, with paintbrushes, rollerskates, skateboards, bikes, leaves & branches, hands & feet.

Rio “freestyle” handpainted silkcloque catsuit, for fashionshow in Rio De Janeriro winter 2010

Haute Couture

Christian Lacroix Paris La Maison Danoise, Paris Københavnerkjoler The Queen of Denmark “City of God” freestyle, Rio

Her Majesty Queen Margrethe II 25´th anniversary as Regent

Satin silk printed with organic patterns in violets

silkcloque for a cape with grey mink for the day.

Film / Theatre

The Royal Danish Theatre New York City Ballet Bille August, “Smillas Sense of Snow” Per Kirkeby

Sacré du printemps,1997 Costumes with laque & latexprint, nyloncords, flock. The Royal Opera, Copenhagen

Film / Theatre

The Royal Danish Theatre New York City Ballet Bille August, “Smillas Sense of Snow” Per Kirkeby

Costumes with laque & latexprint, nyloncords, flock. The Royal Opera, Copenhagen

Film / Theatre

The Royal Danish Theatre New York City Ballet Bille August, “Smillas Sense of Snow” Per Kirkeby

“its a shame she´s a bitch” Bloodred silkcloque with devore´& gold.

“its a shame she´s a bitch” Rose & orange silkvelvet cloque´with devore´

Film / Theatre

The Royal Danish Theatre New York City Ballet Bille August, “Smillas Sense of Snow” Per Kirkeby

The Royal Danish Opera 3 Modern Ballets, Dance Mozart ! Silver, laque, graphite prints

The Royal Danish Opera 3 Modern Ballets, Dance Mozart ! Organic triple silkcloques and tattoo prints for the girl in the forest.

Film / Theatre

The Royal Danish Theatre New York City Ballet Bille August, â&#x20AC;&#x153;Smillas Sense of Snowâ&#x20AC;? Per Kirkeby

Romeo & Juliet at New York City Ballet, May 2007 In cooperation with Artist Per Kirkeby, Balletmaster Peter Martins and costumiere Kirsten Lund Nielsen. Handprinted textiles for all costumes

Doublecoloured silkvelvet devore for the ballgowns

Design