Tidy Up The Commotion (Concept Development) by Lixian (Lisa) Teng

TIDY up the

COMMOTION Concept Development

Lixian (Lisa) Teng

ABSTRACT The work reflects conceptual meanings behind a series of neatly organised objects in various visual manifestos. Through mixing ordinary scattered elements into a minimal and controlled arrangement, there is a new perception of the original. It is a double take of imagery which becomes a personal documentation, similar creating a time capsule. Pieces are split apart or flatten out, only to construct an altered form. This is taking an existing object, transforming into a personal idea to the object.

CONTENTS

Abstract

Introducing the Concept

Rationale

09 Silhouette 09 Colour 11 Materials 11

Research Methodologies

Customer

13 17

Competitors

Conclusion

Bibliography

Appendices

Figure One: Paul Klee (Above), Piet Mondrian (Below)

Figure Two: Cereal Bowl (Ursus Wehrli)

Figure Three (Above), Figure Four (Below)

INTRODUCING THE CONCEPT

The concept originates from a series of visual manifestos complied by comedian and artist, Ursus Wehrli. These images demonstrate the notion of deconstruction and reconstruction. The result of the images come across clean, almost minimal, and sometimes it looks completely different from the original content. In his earlier works, ‘Tidying Up Art’, Wehrli takes apart and re-organises art pieces featuring a few various modern movement artist for instance, Paul Klee and Piet Mondrian (figure one). In his recent series of works titled ‘The Art of Clean Up’, he deconstructs ordinary composition of objects and lines them up neatly (like the bowl of cereal shown on figure two). He splits these objects into different components, according to colour and form. Though the medium is a collage of existing items, the pieces become a reflection to Wehrli’s personality – comical and whimsical. Other works from the past and present cultivates such ideas.

Figure Five: ‘Disassembly’ by Todd McLellan

Throughout the internet, this idea has evolved into a website, “Things Neatly Organised” created and moderated by design student Austin Radcliffe. The website contains image submission from the public from personal possessions re-arranged to ingredients list for recipes (figure three). In this manner, it reflects a personal curation of their interest, background and personality (figure four). Analysing objects is similar in this perception. In Todd McLellan’s photography works, ‘Disassembly’, every component of vintage appliances such as typewriter and rotary telephones into one composition (figure five). Part of this series, he “sets the parts free” by creating freeze frames of the objects he drops. This visually illustrates the historical impact of these objects. 05

Figure Six: Playing around with the layout (Richard Long)

Art pieces plays a role in this form of arrangement. Richard Long uses nature as his subject, rearranging stones, twigs, branches and other objects in the natural surroundings to create a clean composition. This could prove that they are the earliest type of works with this notion of reorganised art. Basically, nature is seen through his point of view. He picks outdoor surroundings that is untouched yet looks pristine. He takes on his own interpretations of these natural surroundings and translates them into his sculpture pieces at exhibitions. He plays around with the layout of his subjects, including the words in his prose (figure six). Julian Opie works ‘Imagine it’s raining’ (1992) and ‘Imagine you can order these I & II’ (1994) (figure seven and eight) demonstrate this idea as well though not in a linear manner. The title and the pieces do not seem to merge but if it is seen in a different angle, then one can understand the original intention to creating the pieces. The similar ways with this concept are that the works still looks neatly organised. Viewers can still see cleaner and simpler visuals on his sculptures without much fuss with the layout.

Figure Seven (Above): ‘Imagine it’s raining’ (1992) Figure Eight (Below): ‘Imagine you can order these I & II’ (1994)

Through analysing, deconstructing and reconstructing the image or object, it creates a simple and effective visual display of an identity of the artiste. This is similar to asking about one’s personal history, what is happening throughout different stages of their lives. One begins to know more about their social behaviour and lifestyle just through the reflection of the objects. Tilley (2006) mentions that through analysing items, we can begin to understand ‘ourselves and others’ (Tilley 2006:61). Some of the silhouettes will take inspiration from orthopaedic footwear and podiatry insoles (therapy footwear). It sounds peculiar to link this type of footwear within the concept. However, by investigating vintage orthopaedic footwear from the 1930’s until the 1950’s, there is some impression of the historical element behind the footwear (similar to McLellan’s method to photographing the antique objects). Part of the idea is reinterpreting original classics silhouettes into another kind of shape which seems fresh and innovative. Aiming towards a high street to luxurious level, consumers want a look which could last for a while. This is where there is a need to create ‘new basics’ which in turn can become ‘future classics’. 07

Figure Nine: Initial choice in terms of colours and materials for uppers

RATIONALE

Deconstruction and reconstruction are the key elements to illustrate the project, utilising similar methods on how the artistes mentioned in the concept create their composition. Upon discovering the mindset of these artistes why did they bother to deconstruct an object or a mixed composition? Through viewing these visuals, one would try to mentally piece the puzzles together; merging the different components into a whole composition. When the whole concept ties together, positioning the object within the images or sculptural form, it creates a clearer objective of the artist intention to their subject. This is where the concept comes into vision - making complex objects accessible to the consumers. Upon receiving, consumers to construct the object, the footwear in this case, like a puzzle using the different components given â&#x20AC;&#x201C; interchangeable sole covers to fit the arch of the foot. In addition, analysing vintage orthopaedic footwear and obtaining professional opinion from the podiatrist is essential for the design development. The range of footwear will partially be inspired by orthopaedic and podiatry footwear. Physical examples to convey this concept derives from artworks and the vintage footwear. This evolves into the development of the silhouette, construction, materials and colour palette.

Colours The colour palette has a sense of vibrancy (yellow, purple, red, blue, green) which though collection will steer towards Spring/Summer 2013. However, black and some neutral shades will tone down the whole palette to prevent the collection from going over the top. The combination of colours will be inspired by the series visuals shown during the concept (with exception to Richard Longâ&#x20AC;&#x2122;s works where most of the colours are muted). The colours represent the vibrant colours used in the given examples of works in the concept (figure nine). 09

Figure Ten: Latex foam insole (Brรถtje Schaumtecnik)

Materials Vegetable tanned leather is chosen for the uppers. The leather give slight natural look despite the vibrant colours dyed onto the surface as matt finish tones the colour a little. In this case, the soft textures conveys the mood of Richard Longâ&#x20AC;&#x2122;s works, vegetable The combination of cork and wood comes into use for the sole and sole units. Cork is light and study, easier to mould into shape, according to the shape of the foot. In addition, it provides comfort for the foot when it is placed on top of the sole board (it was used to create the height of the shoe in the vintage version of the shoe). However, it will most likely to be used inside the shoe, creating a supported platform covered by the upper. Taking up a notch, latex foam insole (from the German company, BrĂśtje Schaumtecnik (figure ten) adds extra comfort, even for customers with foot problems. These foam insoles are cast in a mould. Depending on the type of wood, it affects the structure of the sole unit. In comparison, light weight wood easier to walk in. However, the heavier types of wood are sturdy and it lasts longer. Various shapes and sizes blocks of wood will be combined into one unit, like a puzzle.

Silhouettes and Construction Using elements from some sculptural pieces (not literately, just the method of creating) of Richard Long and Julian Opie, it develops as a base to develop structure of the footwear from the uppers to the sole units. This becomes relevant as it demonstrate similar characteristics; ideas of fragments that merges together in one work. Their works looks slightly linear and angular as the position of the shapes comes into place with how the structure looks. Some of the elements from the vintage orthopaedic footwear come into place. The idea is to re-vamp and recreate the classic silhouette as it will transform into a small range inspired by the vintage orthopaedic footwear.

Figure Eleven: Shoe and Moulding Machine (Marloes ten Bhรถmer)

RESEARCH METHODOLOGIES

Personal interpretations of the concept are made through the means of these series of primary research in terms of construction.

Exhibition: ‘The Power of Making’: The visit to the recent exhibition ‘The Power of Making’ starts the primary research into the study of the structures. The exhibition features around 100 bespoke objects ranging from footwear to huge furniture pieces. Behind each curated items, patrons attempts to figure out how each objects are created. Mentally, they deconstruct the items with information given about the original intention of the creation. The exhibition demonstrates that ideas do not evolve from paper. Through constructing the product, more ideas of innovation develop (which should be part of the experimental process). One of the featured works by Marloes ten Bhömer demonstrate the process through video montage, the display of the working machine which moulds the shoes and the final product (figure eleven).

Interview with the podiatrist: Mr. Tye Tze Lee: Though the collection will only take inspiration from a series of therapy footwear, it was essential to get information about its basic aesthetics of podiatry. The research implemented with podiatrist, Mr. Tye Tze Lee. During the interview he mentions that it is important to understand the biomechanics of the foot, how the bones and muscle contract. He analyses each clients with a test on the treadmill, observing their walking pattern. Preferably, the counter back must be high enough to hold the foot and covered around the vamp area. Lacing is one of the best choices in terms of closing the shoe as it is adjustable. However, ballet pumps and slipper are off limits as it strains the muscles of the foot. The most important factor, there must be enough room in the shoe to insert the customised insole made for the patients which are made from foam, sculpted to the arch of the foot. 13

Figure Twelve (Above): Orthopaedic Derby Boot (c. 1930â&#x20AC;&#x2122;s)

Figure Thirteen: Sole Unit - Cork with a leather cover

Analysing vintage orthopaedic footwear: Analysing various vintage orthopaedic footwear and components from the college archive collection, provides insight of its construction. The footwear made in the 1930â&#x20AC;&#x2122;s are slightly out of the ordinary, especially with the structure of the sole (figure twelve). Each of the footwear tells a story of the client, reasons why it was made in a certain look to cater to their own needs. Through these observations, there are noticeable differences with the construction in comparison to ordinary footwear. The cork insole (figure thirteen) is much higher (at least one to two inches high) as perhaps, the particular client leg was shorter than the other. In addition, there is evidence of durability of the materials used in the footwear. The cork used for the insole stays in shape. Around the vamp, it is either closed with the lace or strap to secure the foot.

Figure Fourteen: ‘Joseph’ - Multi-label Boutique along Westbourne Grove

Market Level There is a boundary with the way consumers spends on different products. One group would spend more on high street products, as they know it will not last one season and eventually, will be bored with the trend. There are other groups who would save up for a unique item, where it cannot be replicated easily.

Customer Profile The target customer steers towards the women have jobs creative industry examples like graphic, industrial or fashion design. In their mindset, they feel like they are ages between 26-40 years old where they want to feel that same vibe at that age where they felt financially free. They are forward thinkers with a strong personality. They would buy unique and perhaps wearable pieces in which they can wear and display in their homes at the same time. However, most times, during this stage they want to own something a little bit more classic but still want to be in trend. The customer in this scenario loves to mix around their outfits from both high street brands to luxury brands. This demonstrates that they are slightly down to earth and not a snob towards branded items. Quality comes to mind when they purchase the product. They would spend their free time and socialise along locations around Westbourne Grove (off Portobello Road). Most of these items range from £40 up to at least £500 for a pair of shoes and other merchandise. On the other hand, the customer periodically browses through charity shops along that stretch such as Mary’s Living and Giving Shop (Mary Portas). In that particular charity shop, there are various donated luxury designer and upper high street basic but unique merchandise (example given, a white shirt by Ann Demeulemeester selling for £32). Stocking up such merchandise reflects the client’s style and taste. The emphasis of these stores such as ‘Joseph’ (figure fourteen) is to display a mix of designers to match with their style of merchandise in their in-house label.

Figure Fifteen: ‘Joe’s Cafe’ with the ‘ideal’ target customer (front)

Figure Sixteen (Above): Brown Shoes - ‘Cups’ Sole Unit (Trippen) Figure Seventeen (Below): United Nude - Eamz Heel Unit

The designers and labels they like have their distinctive style like the footwear brand United Nudes with their classic with a twist footwear range or Martin Margiela with their conceptual style, making a simple look exclusive. Other than boutiques along these roads, there are ranges of other retail shops and cafes like Joe’s Cafe (figure fifteen) an extension to ‘Joseph’ where their range of merchandise is displayed within the restaurant, enticing potential customer to purchase the products). These customers love to indulge with food yet they are curious on the ingredient that goes into the dish. This does not necessarily mean they are diet conscious. However, they can only appreciate such food during their spare time due to the nature of their jobs. Career is their top priority. Their jobs are fast paced and they are on the move. They travel frequently to meet potential clients. This is where the construction from the vintage orthopaedic footwear can apply in the product development.

Competitors The entry level of the market targets between upper high street labels to luxury labels. Focusing on ideal competitors, Trippen and United Nude, it formulates the identity of the collection. Their usual consumer would purchase the range of footwear as it focuses on the innovation placed into the construction, the style and price range. Trippen and United Nudes concentrates on the innovation of the footwear while at the same time, the production is cost effective. Trippen in particular concentrates on unusual appearance with their uppers (with their fastening system) and sole units. The sole units from ‘Cups’ range (figure sixteen) are made of two separate circles. United Nudes concentrates on the design of the heel, different from other upper high street brands. In particular, the ‘Eamz’ range contains a heel unit, made from steel that cantilevers at the step for support (figure seventeen) while the design of the upper remains plain.

CONCLUSION

Starting from a conceptual idea and developing and designing a footwear collection can be challenging at some aspects. Compiling a series of visual gives a straightforward explanation to the interpretation concept. There are dangers where the footwear designs become too literal with the selection of works and structures, which are chosen during the research process. Facing such challenges, it enables one to think innovative ways to express the idea of the project by using the manipulation of patterns and basic structures. This research is significant as it represents possibilities to create different collections for the future â&#x20AC;&#x201C; perhaps creating footwear on a medical level (orthopaedic and podiatric footwear).

BIBLIOGRAPHY

Books Wehrli, Ursus. (2003) Art en bazar. Toulouse: Milan Horlock, M. (2004) JO: Julian Opie. London: Tate Long, R. (1998) Mirage. London: Phaidon Cooke, L (1994) Julian Opie. London: Thames and Hudson Pearce, S. (ed) (1994) Interpreting Objects and Collections. London: Routledge. Miller, D. (1998) Material Cultures: Why some things matter. London: UCL Press. Brettell, Richard R. (1996) Richard Long : circles, cycles, mud, stones. Houston: Contemporary Arts Museum. Tyrrel, W. (2009) Therapeutic Footwear: A Comprehensive Guide. Edingburgh: Churchill Livingstone

Magazine/Articles McLellan, T. (2011) ‘Exploded View’. Icon Magazine, No. 95: 128

Museum ‘Power of Making’ (2011). Victoria and Albert Musuem, London. 6 September 2011 – 2 January 2012.

Interview Podiatrist – Lee, Tye Tze. (2011) Interview with Lixian Lisa Teng, 14 September. (approx. 30 mins)

Website Ursus Wehrli Tidies Up Art (TED): http://www.ted.com/talks/ursus_wehrli_tidies_up_art.html (2008) (Accessed: 7 October 2011) Ursus Wehrli interview on Euromaxx (Dubbed in English): http://youtu.be/F98jOGpWTMI (2008) (Accessed: 4 November 2011) â&#x20AC;&#x2DC;The Swiss Obession with orderâ&#x20AC;&#x2122; Ursus Wehli: http://www.swissinfo.ch/eng/multimedia/video/Tidying_up_art. html?cid=31342608 (2011) (Accessed: 25 October 2011) Todd McLellan: http://www.toddmclellan.com/ (2011) (Accessed: 9 October 2011) Things Neatly Organised (Austin Radcliffe): http://thingsorganizedneatly.tumblr.com/ (2008-Present) (Accessed: 8 October 2011) Things Organised Neatly... by Mike Kolker: http://www.upat5am/things-organized-neatly (2008) (Accessed: 11 October 2011) The Burning House (Foster Huntington): http://theburninghouse.com/ (2011) (Accessed: 8 October 2011) Othopaedic Shoes Hit Their Stride in London: http://fashion.elle.com/fashion/insider/2011/09/20/orthopedicshoes-hit-their-stride-in-london/ (2011) (Accessed: 8 October 2011) Power of Making (Victoria and Albert): http://www.vam.ac.uk/content/exhibitions/power-of-making/ (2011) (Accessed: 20 October 2011)

APPENDICES

Front Cover Untitled http://www.boredpanda.com/the-art-of-cleanup-by-ursus-wehrli/ (2011) (Accessed 17 October 2011)

Figure Four “The Burning House: Mark Whitfield” http://theburninghouse.com (2011) (Accessed 17 October 2011)

Page 02 Untitled http://www.boredpanda.com/the-art-of-cleanup-by-ursus-wehrli/ (2011) (Accessed 17 October 2011)

Figure Five “Disassembly: Old Telephone” Todd McLellan ‘Exploded View’. Icon Magazine, No. 95: 128 (2011)

Page 03 Untitled http://www.boredpanda.com/the-art-of-cleanup-by-ursus-wehrli/ (2011) (Accessed 17 October 2011)

Figure Six “Merrivale Ring” Richard Long Circles, Cycles, Mud, Stones (1996)

Figure One “Paul Klee, Planche de couleur”, “Piet Mondrian, Composition au rouge, bleu et jaune” (2003)

Figure Seven “Imagine it’s raining” Julian Opie (1992)

Figure Two “Cereal Bowl” http://www.boredpanda.com/the-art-of-cleanup-by-ursus-wehrli/ (2011) (Accessed 17 October 2011)

Figure Eight “Imagine you can order these I & II” Julian Opie (1994)

Figure Three Untitled http://thingsorganizedneatly.tumblr.com/ post/10441126254 (2009) (Accessed 24 April 2011)

Figure Nine Materials Own Material Swatches (2011)

Figure Ten Latex foam insole (Brötje Schaumtecnik) Obtained from Materials Collection at London College of Fashion (2011)

Figure Sixteen Brown Shoes from Trippen Personal Photograph (2011)

Figure Eleven “Shoe and Moulding Machine” http://marloestenbhomer.squarespace.com/ (2011) (Accessed 24 October 2011)

Figure Seventeen Eamz Heel Unit http://www.unitednude.com/ (2011) (Accessed 04 Nov 2011)

Figure Twelve Orthopaedic Derby Boot Personal Photograph from Archive Collection at London College of Fashion (c. 1930’s)

Page 25 Untitled http://www.boredpanda.com/the-art-of-clean-upby-ursus-wehrli/ (2011) (Accessed 17 October 2011)

Figure Thirteen Sole Unit (Cork) Personal Photograph from Archive Collection at London College of Fashion (c. 1930’s) Figure Fourteen Street Shot along Westbourne Grove Personal Photograph (2011)

Figure Fifteen Joe’s Cafe Personal Photograph (2011)

Notes taken analysing the vintage orthopaedic footwear

Lixian (Lisa) Teng TEN06189907 B(A) Fashion: Design and Technology (Top-Up Footwear) 28