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Aitor Throup: New Orleans Project

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  • Servo2000
    Senior Member
    • Oct 2006
    • 2183

    Aitor Throup: New Orleans Project

    http://www.showstudio.com/project/neworleans

    Link thanks to seenmy from Superfuture, who is currently interning with Aitor. I found this aesthetically and conceptually refreshing and technically impressive. Can't ask for much more. Apparently the production is really incredible (quoting seenmy):

    the production on them is like nothing you willl have ever seen,he created a new process for the tailoring so the garments are essentially seamless(obviously there are jions)but not seam allowence so everythingsits flat inside and out,the cases are amazing nd the transformations even better as they were not designed,they are just a direct result of the pieces of the instrument case being placed on to the body,the sausaphone is the best and most exciting example of it,

    I'd be interested to see this in person.

    Enjoy.

    WTB: Rick Owens Padded MA-1 Bomber XS (LIMO / MOUNTAIN)
  • ddohnggo
    Senior Member
    • Oct 2006
    • 4477

    #2
    Re: Aitor Throup: New Orleans Project



    very cool stuff.



    Did you get and like the larger dick?

    Comment

    • Servo2000
      Senior Member
      • Oct 2006
      • 2183

      #3
      Re: Aitor Throup: New Orleans Project

      [quote user="ddohnggo"]

      very cool stuff.





      [/quote]



      Might want to save it for the old thread, this one should probably stick to discussion about the New Orleans project?




      I definitely agree with Merz, the execution and fit is much more in line with his incredible sketches. The old pieces often failed to execute somewhat, I think he's a great designer and it looks like maybe his technical skills are catching up.

      WTB: Rick Owens Padded MA-1 Bomber XS (LIMO / MOUNTAIN)

      Comment

      • Chinorlz
        Senior Member
        • Sep 2006
        • 6422

        #4
        Re: Aitor Throup: New Orleans Project



        [quote user="merz"]When i first discover throup, his illustrations left me completely speechless but the actual garments left a lot to be desired. This stuff has given me the kind of suckerpunch i had come to expect from the concept sketches.
        [/quote]





        Merz, is the suckerpunch part a good or bad thing for this collection?




        Since his last (first?) collection, I've been pretty interested in his stuff. This collection is pretty cool both in concept and in execution. The Sousaphone finale piece was just plain crazy!




        I think Aitor's approach to Katrina/New Orleans as an influence for this collection is pretty novel in concept and really beautifully executed. I can't wait until the Library gets this collection in so I can see photos that are more in detail. The trumpet and trombone pieces are beautiful. I'd definitely consider picking up one of those jackets as it's a wonderful play on the classic blazer. The deconstructed instrument bags come together for a strong, protective almost menacing look that is fucking sweet.




        Aitor's one of the most creative designers I've seen here in the last year or so. His stuff is far from the mainstream and oh so lovely. Wish his first collection stuff (that is more transforming) was still around on the secondhand market....




        I may have to message the guy who is interning at Throup!

        www.AlbertHuangMD.com - Digital Portfolio Of Projects & Designs

        Merz (5/22/09):"i'm a firm believer that the ultimate prevailing logic in design is 'does shit look sick as fuck' "

        Comment

        • laika
          moderator
          • Sep 2006
          • 3787

          #5
          Re: Aitor Throup: New Orleans Project



          whoa, this is amazing. What fantastic drawings. [:O]





          thanks Servo and merz too....this will make for excellent browsing...

          ...I mean the ephemeral, the fugitive, the contingent, the half of art whose other half is the eternal and the immutable.

          Comment

          • Servo2000
            Senior Member
            • Oct 2006
            • 2183

            #6
            Re: Aitor Throup: New Orleans Project

            [quote user="laika"]

            whoa, this is amazing. What fantastic drawings. [:O]





            thanks Servo and merz too....this will make for excellent browsing...



            [/quote]



            For anyone who missed the old thread: http://stylezeitgeist.com/forums/thread/5118.aspx



            Forgot to link it earlier.

            WTB: Rick Owens Padded MA-1 Bomber XS (LIMO / MOUNTAIN)

            Comment

            • laika
              moderator
              • Sep 2006
              • 3787

              #7
              Re: Aitor Throup: New Orleans Project



              ah, ok, I remember now. I guess I was more attracted to the drawings than the clothes. [:$]



              thanks, Servo! [64]

              ...I mean the ephemeral, the fugitive, the contingent, the half of art whose other half is the eternal and the immutable.

              Comment

              • Servo2000
                Senior Member
                • Oct 2006
                • 2183

                #8
                Re: Aitor Throup: New Orleans Project

                I'm seriously addicted to the song in this video. I wish I knew more about this sort of music (or more similiar musicians) because I keep coming back to this video to listen to it.
                WTB: Rick Owens Padded MA-1 Bomber XS (LIMO / MOUNTAIN)

                Comment

                • ddohnggo
                  Senior Member
                  • Oct 2006
                  • 4477

                  #9
                  Re: Aitor Throup: New Orleans Project



                  the credits say the following:



                  music composition: d. bryceland
                  music production: vibrations of sound



                  you might find some similar artists if you google search the names.

                  Did you get and like the larger dick?

                  Comment

                  • lowrey
                    ventiundici
                    • Dec 2006
                    • 8383

                    #10
                    Re: Aitor Throup: New Orleans Project




                    really interesting stuff, looking forward to seeing more pics of the new orleans project. the concept with that is just nuts.

                    "AVANT GUARDE HIGHEST FASHION. NOW NOW this is it people, these are the brands no one fucking knows and people are like WTF. they do everything by hand in their freaking secret basement and shit."

                    STYLEZEITGEIST MAGAZINE | BLOG

                    Comment

                    • Avantster
                      ¤¤¤
                      • Sep 2006
                      • 1983

                      #11
                      Re: Aitor Throup: New Orleans Project



                      I love his concepts & sketches. The clothing itself seems to lack just a little in execution - it loses just a touch of that magic I see in the sketches. I'm definitely keeping my eye on him.








                      Some pics from LFW. Full credit of the pics go to Susie of style bubble. I wish he did a runway show.























                      let us raise a toast to ancient cotton, rotten voile, gloomy silk, slick carf, decayed goat, inflamed ram, sooty nelton, stifling silk, lazy sheep, bone-dry broad & skinny baffalo.

                      Comment

                      • Servo2000
                        Senior Member
                        • Oct 2006
                        • 2183

                        #12
                        Re: Aitor Throup: New Orleans Project



                        Styling and some pieces by Aitor Throup:
















                        WTB: Rick Owens Padded MA-1 Bomber XS (LIMO / MOUNTAIN)

                        Comment

                        • bakla
                          Senior Member
                          • Oct 2006
                          • 902

                          #13
                          Aitor Throup: Supernova on Hintmag

                          Great article on Aitor Throup on Hintmag.com

                          (is it alright to copy and paste this here, or should I just leave this as a link?)



                          Polite and soft-spoken though he is,
                          Aitor Throup
                          will bristle if you call him a fashion designer, a pejorative term for
                          someone who doesn't give a toss about being trendy. He's an artist
                          who'll no doubt rank among high-conceptualists Hussein Chalayan and
                          Martin Margiela soon enough, but don't tell him that either. A
                          stand-out at Man, the men's group show put on by Fashion East during
                          London Fashion Week last September, he defies labeling and even talks
                          of revolutionizing how we buy and consume clothes. Argentinean-born and
                          London-based, Aitor creates military-style suiting heaped with layer
                          upon layer of abstruse meaning (consider the titles of his two
                          collections to date: When Football Hooligans Become Hindu Gods, The
                          Funeral of New Orleans) and made using a sci-fi clay-to-computer
                          sculpture technique. You could say?but again, please don't?that he's
                          the George Lucas of menswear, focusing on characters and concepts over
                          shapes and silhouettes. Here, making good use of his "tendency to
                          chatter on," the Royal College of Art graduate and royal contrarian
                          divulges his enigmatic ways to LEE CARTER.






                          We haven't even started and I already have a headache.



                          (Laughs.) I've heard that before.



                          Let's start with your design philosophy, because you definitely have one.



                          Okay. The
                          way I think about my concepts, collections and everything else would be
                          like a gallery setting, in the sense that, and not to be arty here, I
                          view my work as a static product and the audience should be active
                          around it. They should view it whenever they want and as long as they
                          want, which ties into my beliefs about the seasonal limitations of the
                          industry.



                          Which are?



                          Currently,
                          we as consumers are not allowed to buy things when we want or even when
                          the designer wants, which runs contradictory to the essence of
                          creativity. While fashion cycles may give structure and boundaries that
                          creative people think they need, designers can become self-absorbed and
                          indulgent. Whereas I'm very strict in my exploration of my creativity,
                          in that every single thing has to be justified and make sense, so much
                          so that if I also submit to the limitations of the industry and its
                          deadlines, I think I would choke.



                          I would get all of nothing done if I didn't have deadlines.



                          I see a
                          better future for the fashion industry. I see a section of the industry
                          opening up to allow for more experimentation. A new group is emerging
                          and exploring new possibilities. Magazines will benefit, consumers will
                          benefit, buyers will benefit and the Internet will benefit because
                          there will always be something new in the windows.What I hope to see in
                          the future is a sort of mirror of the music and art industries, in that
                          fashion would allow itself to show a product whenever it's ready, not
                          in predetermined cycles. Now more than ever, people like to layer
                          rather than having a winter wardrobe and a summer wardrobe. That's such
                          an old-fashioned system.



                          Especially
                          when seasons are so different across the globe at any given moment,
                          while fashion is becoming more and more global all the time.




                          Imagine if
                          the music industry did it that way. Imagine if they released all their
                          new music every six months. You'd have to listen to the new albums all
                          at once and, worst of all, once an album comes out, you're only allowed
                          to buy it for six months. After that you have to buy the new album,
                          which would probably be shit because they only had six months to come
                          up with a concept, develop it, record it, do the artwork, etc. My
                          collections operate a lot differently.













                          Let's talk about your collections. They're like no other.



                          In my mind,
                          my collections are very conceptual, not based on the colors or
                          silhouettes of the season. I've almost got an advantage over other
                          designers in that I was never really interested in fashion. I kind of
                          fell into it. I got into it through a love of the product rather than a
                          love of aspirational values attached to it.



                          How did this love of product start?



                          When my
                          friends and I were teenagers growing up in Lancashire, in the north of
                          England, we started getting really into clothes, but it had nothing to
                          do with fashion. We were fascinated with anything that came from
                          Massimo Osti, the guy who set up Stone Island and C.P. Company and
                          other labels after that. For me, he really pioneered a new casual
                          menswear. Before he came along you'd look down the street in England
                          and see a sea of suits. He was well established by the time we were
                          dressing in it in '96.



                          What exactly did you like about it?



                          It had a lot
                          of integrity and every design feature was justified. So while it was
                          very expensive and we were 16 buying a new jacket for £500, we knew we
                          were buying into concept and quality. We knew the fabric and treatments
                          were innovative, and parts of the jacket could be moved around in
                          utilitarian ways. Some of the pieces could even could save your life if
                          you were in a jam. Each piece had a justified design philosophy. Our
                          fascination was completely detached from the concept of buying a jacket
                          because it's the hot thing.



                          You were a teen cult.



                          Yes, and we
                          didn't know what we were going to see until we got to the shop. We
                          didn't study fashion shows and look through magazines to see what's
                          coming out. If it was the first day on the shop floor, and since we
                          were friends with the managers, they'd give us a call and put one
                          behind the counter so we could see it first. So we were really judging
                          the product and basing our purchase on seeing it and studying it and
                          falling in love with it.



                          Aww, young love.



                          Yes, and
                          through it all, I had no interest in fashion. I was just passionate
                          about those pieces. I even got a job there later. Then I spent one
                          summer in Majorca working in a restaurant. I was really missing those
                          winter jackets and jumpers from C.P. Company and Stone Island, so I was
                          sitting around doing nothing one day and I took a little paper place
                          mat and began doodling. I've always drawn comic book characters, so I
                          drew characters on the place mats, and the clothes started getting
                          really detailed, more C.P.esque or Stone Island-esque. Then I thought,
                          why not go back and show the drawings to the seamstress we used at the
                          shop. I thought I could go back with the sketches and she'd make me
                          these clothes that no one else has.



                          So she did it?



                          No. On the plane back I had the thought that maybe I should do it. Not be a fashion designer, but to make garments.



                          Tell me about your method of sculpting little characters and making miniature clothes for them.



                          That's a
                          technique I developed at Royal College. When I arrived there, I knew I
                          had to carry on looking for whatever it was I was looking for. I knew
                          it had to be different. Then I realized I needed to find a bridge
                          between my drawings and my garments that wasn't a purely aesthetic
                          link. I basically had to go from a two-dimensional drawing to a
                          three-dimensional garment. I was frustrated by not being able to draw
                          in three dimensions. So I developed this technique of sculpting the
                          body or torso from my drawings, then covering it with fabric, like a
                          skin, and enlarging it to human scale. What I'm interested in is the
                          human body interpreted through my characters.



                          I like how you think of fashion in anatomical terms. You're like a fashion scientist.



                          That's
                          pretty cool. I like that. Yeah, I always think about anatomy and the
                          notion of understanding the outside by understanding the inside. I'm
                          actually obsessed with it, especially 16th-century notions of anatomy.
                          The very soul of my collections is based on my interpretation of the
                          human body.



                          Can you give an example?



                          With the
                          first collection, called When Football Hooligans Become Hindu Gods, all
                          the garments were based on one miniature sculpture, which was scaled up
                          to fit a human body using a computer. The concept of the collection was
                          the idea of a group of football hooligans killing a Hindu boy in a
                          racist attack and then converting to Hinduism when they realized what
                          they had done. Every garment is in a military style, which references
                          football hooligans and how they wear military-like garments, then each
                          of those pieces turns into a Hindu god. That evolved into the next
                          collection, The Funeral of New Orleans, which is the one you saw in
                          September.



                          Yes, I loved it. Let's talk about that.



                          That was the
                          first part of a story I came up with. It's about musicians trying to
                          survive hurricane Katrina, but who decide to risk their lives and
                          protect their instruments instead. [The second part of the collection,
                          to be shown this year, will be the posthumous conclusion.] The shoulder
                          construction of each jacket is actually made from deconstructed
                          instrument cases to protect against rain and the pants have built-in
                          gloves that you can also take off and protect your instrument with.



                          Like a puzzle.



                          Exactly. I do always think of my clothes as toys.



                          Toys, comic books, clay figures. Are you a kid in a designer's body?



                          I guess, but
                          it feels normal to me. People stop playing with toys, but I still love
                          them and collect them, especially articulated action figures. I liked
                          ones you move in anatomically proper ways, like legs that can go
                          sideways, not just front and back.



                          That's weird.



                          (Laughs.)
                          Yes, well, in the collection, every shirt and jacket was constructed on
                          a sculpture of a specific musician in a specific pose, playing that
                          specific instrument. So, for instance, you have a jacket constructed
                          exactly in the pose of a trumpet player.



                          Can the limbs move?



                          Yes, though
                          it's a little ill-fitting, distorted a bit to the right or left, but
                          that's what makes if cool, if you know what I mean. Plus you can
                          explain the concept to your friends as you go into a trumpet-playing
                          pose. It's a piece with soul and integrity. They say artists create
                          problems and designers solve them. I'm more of an artist.













                          Has anyone compared you to the great conceptualist Hussein Chalayan?



                          Yes, they
                          have. He's someone I admire, but I think our approach is very
                          different. What he does is offer unresolved ideas, allowing viewers to
                          come up with their own answers. His work is suggestive and it makes you
                          think, but my work is different in how obsessive I am. I can't leave
                          something until it's fully finished. I'm interested only in the content
                          of the piece itself, which can be enjoyed aesthetically or seen on
                          different hidden levels: conceptual, contextual, philosophical,
                          metaphorical and symbolic. I focus on answering all those questions for
                          the viewer.



                          Do you think about selling in stores? Or is that too pedestrian?



                          Yes,
                          definitely I do. It's a challenge for me because at the same time I'm
                          trying to convince buyers that my work shouldn't be consumed for only
                          for six months, and also that they can't expect to get a collection
                          every six months. But I've have great support from stockists. It seems
                          like the majority are willing to support me. In 2008, I'm entering one
                          particular collaboration. Stay tuned.



                          Going forward a few years, where do you see yourself?



                          Because of
                          how much I go against the grain of the industry, I think I should have
                          a shop of my own, regardless of the size, just somewhere to allow for
                          the products to live in their own environment.



                          You're such a purist.



                          Yeah, I'm not trying to be radical. I can't help it.



                          You expect appreciation.



                          Exactly, and
                          vice versa. Some pieces from Margiela or Chalayan I only started
                          appreciating later on, like in the last couple of years. I never would
                          have bought them when I was still a student, but why can't I buy them
                          now? The fact that people aren't able to buy them means that those
                          designers are suffering from the industry. I'm sure they still believe
                          in those collections.



                          Plus,
                          with those designers in particular, people do still wear them. Like
                          Margiela's 72% oversized collection. Even though it's old, I know
                          people who still love it and wear it all the time.




                          And people
                          shouldn't be ashamed to wear it. If something is actually conceptual
                          and not just the bastardized version of that word, it wasn't developed
                          to be trendy anyway, but to communicate a concept.



                          Are you a tortured artist?

                          Creatively I
                          suffer sometimes, but it's the price I pay. Sometimes I will have a
                          creative urge to explore something like the color yellow, but
                          ultimately I want to lose aesthetic control and just entangle myself in
                          a process. I only want to design concepts.




                          Comment

                          • Servo2000
                            Senior Member
                            • Oct 2006
                            • 2183

                            #14
                            Re: Aitor Throup: Supernova on Hintmag

                            I don't necessarily imagine I'll be able to afford his clothing once he gets around to producing it, but good lord would I love to own the stuff.
                            WTB: Rick Owens Padded MA-1 Bomber XS (LIMO / MOUNTAIN)

                            Comment

                            • Chinorlz
                              Senior Member
                              • Sep 2006
                              • 6422

                              #15
                              Re: Aitor Throup: Supernova on Hintmag



                              did The Library carry his New Orleans collection this past season?




                              I do wonder what the price points are/were... his first collection was none too cheap as well. I figure it's made on a VERY small level though so unfortunately high prices have to offset the small production number.

                              www.AlbertHuangMD.com - Digital Portfolio Of Projects & Designs

                              Merz (5/22/09):"i'm a firm believer that the ultimate prevailing logic in design is 'does shit look sick as fuck' "

                              Comment

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