GRADUATION PROJECT “A Crisp Symphony”
TABLE OF CONTENTS Conceptualisation Design Development & Realisation Range Plan The Client LookBook
CONCEPTUALISATION for “A Crisp Symphony”
Secondary Research: HISTORY AND EVOLUTION OF ORCHESTRA
EVEGENY BUSHKOV; RESIDENT CONDUCTOR AT SOI, INDIA One of today’s most interesting conductors, Evgeny Bushkov received early acclaim as a spectacular violinist. He is a winner of four major international violin competitions: Wieniawski (1986), Queen Elizabeth (1989), Tchaikovsky (1990), and the first Henryk Szeryng Foundation Award (1992). An Honored Artist of Russia, Evgeny Bushkov successfully brings his exceptional performing experience and impeccable artistic taste to his conducting. His remarkable abilities, as well as his aspiration to integrity and a search for authentic interpretation. Evgeny Bushkov became Resident Conductor of the Symphony Orchestra of India in January 2017.
Mr. Conductor in the Orchestra
ABOUT THE GARMENT INSPIRATION The Orchestral Stimulation, I am talking about is moreover related to translation of the idea of AUTHORITY through garments. The entire context revolves around an ORCHESTRA CONDUCTOR whose Baton and Gestures control “The musicians”, “The audience” and “The mood”. Baton and Gestures are the resting means with the sole objective of expression. There exists a sense of Structure which compliments the Flow of Music and the smooth transition which is between the music pieces and the mood. My collection covers up the major changes, interpretations and union of the different specifics of the orchestra. I am working around Classic Silhouettes with Minimalism resulting into Conceptual Sellable Garments.
Q1: How can one differentiate between an Amateur and a Pro-Conductor? - I believe, there are two meanings in definition of Amateur and Pro: the level of doing or expertise and simply of being payed for certain work. Since a conductor is usually somebody who’s supposed to be more expert in music than any of players he is working with, the word Amateur hardly suits the matter. Let’s agree that Conductor is a Pro. Q2: Is it okay to end up with different sounding versions of the same score? - classical or better to say - academic music in short is a Slavery of right notes written by a composer; the score may sound different only within the frames suggested by composer. Or it may vary in additional features such as tempo and dynamic; in rare cases a composer himself may suggest different versions of the same piece, for example, when the ballet music is being performed with or without dancing; Q3: Why is the orchestra seated that way? Who decides it? - the seating chart of an orchestra is first of all a result of ages of orchestra growth. However, an experienced listener will notice a difference of seating between certain European, American and Israeli orchestras which has to do with traditions in those countries. For instance, the main difference can be noticed in placing a group of second violins (it is the only orchestra string instrument that is being divided in two and has two different parts). In some European orchestras the violins are placed on left and right side of a conductor, opposite to each other. This way of seating usually aims to create a “stereo” effect in dialogues between violins as well as serves to “emancipation” of second violins; in the US, on the contrary, the violins are seated all together to conductor’s left in order to provide better “togetherness” which is relatively easier attainable in a shorter period of rehearsals. Q4: With which instruments you have the most intense working relationship? - I am a violinist in the past, so I feel myself in very close relationship with
a string family where there are no secrets for me neither in technique nor in psychology...
Q5: How do you show the orchestra that they have to play loud or soft? - traditionally the amplitude of gesture determines the dynamic: wide movements - loud sound, smaller gesture - softer sound; however these should be in agreement with composer’s indications musicians see in their scores. Q6: How do you show the orchestra that they have to play fast or slow? - there is so called metronomic scale that presumes a number of beats per minute. The beats are given by conductor’s right hand moving in a certain speed. The meter is shown by a pattern conductor’s right hand is “drawing”. Q7: Can I know about process of you understanding the score from the first to the last stage? - this is the most difficult process to describe, since the art of conducting is this very process and the success of the whole work depends a lot of how much a conductor is able to understand the score and transmit its sense and depth...For me personally, the process begins with getting acquainted with the history of creation of a particular piece (if it is a work of composers of the past). Then when it comes to score itself I study instrumentation, structure...Then I try to follow the music as much as I can by hearing it with inner ear only still without playing; and only after that I begin reading it on piano or - very seldom - consulting a recording or demo-version provided by a composer if it is a new contemporary piece of music...
Primary Research : Questionnaire Q8: I want to know about the conductors triangle. The process, from you understanding the notes to co-ordinating with the team and later conducting them. Conductor reads all the same notes as musicians of the orchestra but if musician is performing only his own line, conductor hears, follows and guides all of them simultaneously. The phenomenon of conductor’s activity on stage is that he’s supposed to hear the way the music is to sound before it actually begins, to show with his gesture what it should sound like, to give a cue, and then immediately respond to the way it sounded, already going further for the next measure... RAPPORT: a close and harmonious relationship in which the people or groups concerned understand each other’s feelings or ideas and communicate well. Sir, I want to know about your rapport with: 1: Musicians of the same instrument family: - they have to feel comfortable with me, trust me, feeling my respect and even demand to everybody in their group; 2: Concertmaster: - since it is a second important person during the work process after conductor, the establishment of harmonious trustful relations are of extreme importance. Usually, as Violinst I do not encounter difficulties in making good rapport with a Concertmeister. 3: Composer: - living composer is somebody to respect as much as a composer of the past; however an advantage in the work process with living composer that you may consult all unclear moments of music with the author. The work with composers of the past is only based on indications in the score and our detailed study and understanding of them. 4: Orchestra as a whole: - it’s a great living instrument where every key is a human being! Moreover it is an instrument that can very often play amazingly well by itself. So, the main goal is to give this instrument an energetic impulse guided by the music sense, the only phenomenon that the mass conscience cannot provide... PREFERENCES AND REASONS: Q1: You enjoy being the part of: Chamber or Symphony Orchestra? why? - I equally enjoy being part of both Chamber and Symphony orchestras. I deeply convinced that the process of
music making is similar and should be always deriving from so called chamber music where every tiny detail counts and brings personal expression to a final result; only symphony orchestra should be able to do it with much bigger scale of sound. Q2: What do you think is most powerful thing about conducting:
Expression - definitely is an ultimate goal of all resting means, such as Baton, Gestures and Conducting Pattern, because Music is to move human souls. Warmest regards, Evgeny Bushkov
Mind Mapping and Story Derivation
Started with tones of Ochre, Hues of Red and gradually arrived at Midnight Blue, Wine and Ivory. By this time, also started working with piping and panels.
Derivation of Colour palette
Final colour palette with piping colour reference
WGSN Research
CONCEPT NOTE Orchestra is the major inspiration. Narrowed down to the Conductor, who is the driving force of the orchestra and the collection. The collection lays emphasis on the point that ‘Power Dressing is not completely about a certain kind of garment but is a way of dressing which comes with the correct attitude and confidence balance’. Also, Power Dressing is not just restricted to a professional setting. I found fascinating the role of the conductor in the orchestra set up - his graceful authoritativeness. I believe that I am a leader too, I could relate to him - the kind of control he has and the rapport he shares with the musicians and in the larger context, with the audience too. What was more inspiring to her was that despite comprising of a lot of moods and tempo, one can notice a very smooth transition inorchestra music. One side of the story is the organisation of the orchestra and the other side is the music it creates.
These fluid elements have translated as subtle details on her garments: curvilinear style lines in a contrast colour traversing from one garment part to another, creating a balance among the differentpieces in my collection. When it comes to silhouettes, I have played with the comfort zone of power dressing. I believe that power dressing is meant for everyone and not just for the ones holding the power. “It’s not identifiable with any garment silhouette. Rather, it is more about what you feel and how you carry yourself” The garments incorporate structured shoulders, edgy details, well-tailored fit, etc. in hues of ivory, midnight blue and black.
CONCEPT BOARD
DESIGN DEVELOPMENT & REALISATION for “A Crisp Symphony”
Conceptual Sketches
Design Development Sketches and CAD’s
Technique Exploration
Design Realisation
Prototype stage
Prototype stage
RANGE PLAN for “A Crisp Symphony”
ABOUT THE COLLECTION SILHOUETTES: Classic Silhouettes TECHNIQUES: Panelling, Piping, Pleating (Accordian Pleats) FABRICS: Suiting Fabrics(Polyester & Poly Wool), Chiffon Satin DESIGN DETAILS CURVILINEAR LINES STRUCTURED SHOULDERS FLUIDITY THROUGH LINES
LOOK ONE
LOOK ONE About the look: This look includes a Smoking Jacket with a Pleated Collar Detail, a Chiffon Satin Shirt and a Chequered Midnight Blue Trouser. The smoking jacket with an accentuated shoulder is made with reference to the 1850’s wherein the idea of power and hierarchy strted emerging. A fluid fabric is used for the shirt with piping details on the cuff with transperant buttons. The trousers are tapered giving it ensemble a crisp finish.
LOOK TWO About the look: This look comprises of a jumpsuit and longline jacket with panels and piping as an insertion. There is a detail of ivory lines which break the mood of the other colours. It has been designed being aware of the fact that there is a certain crispness that is expected out of a formal garment. The space bubble is not so elaborate. This jacket breaks the notion of space around a formal long jacket. The jacket is playful yet formal.
LOOK THREE About the look: Designed with a relaxed fit in mind. A plunge neckilne breaks the zone of formality. There is a lapel detail which converts into a dart, then into a pocket further creating a visuuly continuing styleline on the sleeve as well. There are curvilinear lines which drive you towards the back of the garment.
LOOK FOUR About the look: The style lines of this dress are derived from the major artwork which defines the body curves. It is a halter sheath dress with a V neck. The style lines are same on the back and front plus, the overlap of the top gives a double breasted look which is not bulky.
LOOK FIVE About the look: A shift midi formal dress. This dress a the perfect garment which is equally formal as a sheath dress with a turtle neck and minimal styles lines. These style lines mitre with reference to the space bubble that a conductor creates while he is at his disposal.
LOOK SIX About the look: A draped blazer with a dress. The asymmetric blazer features strong & structured shoulders. The lapel has a piping detail which mitres to the dresses’ style line and converts into pleats. This garment gives another edge to the usual formals.
THE CLIENT for “A Crisp Symphony”
Primary Client:
Working Professional
Secondary Client:
Leaders(in any context), Social Activists, MBA or Business Professionals, Members of Royal Family
Client Personality:
POWERFUL. EFFECTIVE COMMUNICATOR, SELF AWARE, BALANCED Age Group: 25-45 yrs
Ft. THE POWERFUL LAUGHTER.
THE SELF AWARE WOMAN.
STARE GAME STRONG.
IN CONVERSATION.
EYE CONTACT AT ITS POWERFUL BEST.
THE APT STANCE.
A SHARP MIND ON A BREAK.
LOOKBOOK for “A Crisp Symphony”
ANCHITA BHATTACHARYA SAXX STYLELINE DRESS.
KHYATI KACHROO TRANSVERSED JUMPSUIT
SHREYA GAIKWAD HARMONIC JACKET
AAKASH KATYAL ACCORDIAN COLLAR JACKET
JAYA RATHORE ANTIGRAVITY LINE BLAZER
JAYA RATHORE ARENA