Carol Christian Poell

[Pumpfish]

What does the pattern-maker do?

Is it the scaling for the sizes? Or are they intimately involved in the realization of the designer's ideas? Building prototypes?

[Peasant]

Very involved. Right hand.

[zamb]

What does the pattern-maker do?

Is it the scaling for the sizes? Or are they intimately involved in the realization of the designer's ideas? Building prototypes?

The pattern maker in any collection is the most important individual next to the designer.............and in some cases even more important that the "designer" himself or herself. Pattern makers are often responsible for the fit, construction techniques and the proportions of many designer labels................I dont know the dynamic with Carol and his Pattern makers, but a very good pattern maker can mean the success or failure of a designer's collection.

One of the reasons Rick is successful, at least from my perspective, is that he is one of the best pattern makers working today..........

[Pumpfish]

^Thanks Zamb.

Because Carol seems so deeply rooted in tailoring, I thought he would be very hands on with the patterns. So I'd guessed his pattern-maker would be more purely technician.

I'd guessed. I know fucknuttin.

[zamb]

^Thanks Zamb.

Because Carol seems so deeply rooted in tailoring, I thought he would be very hands on with the patterns. So I'd guessed his pattern-maker would be more purely technician.

I'd guessed. I know fucknuttin.

he very well might be, but there is a lot of aspects to it and since we dont know exactly how he works its hard to say

there is patterns for Samples
there is patterns for Production
then there is also grading, which is scaling the patterns to the respective sizes.

All three of these are necessary to make the complete system go, and he may be good at patterns for the original prototypes but not necessarily at grading (which most people actually hate) or at production patterns.

Also, remember that most designer collections consist of such a wide range of stuff, at times its really hard for any one person to have the full range of skill sets at an expert level to make all the patterns for all the pieces.............Some do, but its very rare.

All in all while I know these things to be true in principle, with respect to CCP's immediate situation I am ignorant of how much of it applies

[interest1]

random morsel

Uncertain if this has been posted already, and wasn't about to scroll through 499 pages to find out. I had it, so I thought I'd share it.

I believe the caption says "Womp, womp, womp, womp, womp, womp." But in German.

[SHYE_POSER]

Bumped into an old university tutor of mine over the weekend. He reminded me of some essays he wrote on Poell's work.

Below is an introduction for FOUR TROUSERS:
(full essay from page 31- http://www.ucreative.ac.uk/iCMConten...h_2011_web.pdf)
I will try n post - Surface Tensions: Surface, Finish and the Meanings of Objects a little later.


Introduction
Research at a publicly funded art university exists within the double bind of social responsibility and its professional appli- cation to the creative industries. Work – whether text-based or as practical design, historical or contemporary in its topic – must be asked to extend beyond subjective scientific and intellectual interests to edu- cational and socio-political remits. Equally, its subject matter should transcend the discursive realm and engage concretely with the practice of art and design and with its implication for the Praxis of contemporary culture- and knowledge industries.
For the historian, this double bind impacts on the choice and structure of research in regard to its necessary reflection on and usage within teaching and learning strategies and its relevance for student practice. Notwithstanding the reflexivity
of the ‘original contribution to knowledge’, not all research can be integrated readily into the (now heavily politicised) category of knowledge transfer but, conversely, research topics at an art university cannot be concealed either behind existing con- ceptual, historiographical or discursive concerns of, say, the humanities and social sciences, but have to compete for space
with the creative research solutions of material practice.
One of the habitual approaches to integrate theoretical research into this double bind is the focus on contemporary subject matter. Yet contemporaneity is
no guarantee for impact or relevance; the acknowledgement of recent materials and techniques does not lend an argument
to either methodological presence nor actual critical value. In the area of fashion
studies – in design history and -criticism as much as in anthropological or sociological approaches – contemporaneity is an often oppressive given that allocates research
an ambiguous position of debating, doc- umenting and, implicitly, reifying the most transitory of media. The contextual study of present fashion arrests the appearance of the momentary material in time and elevates the ephemeral to an unwanted position of the discursively fixed.
The following remarks on a contemporary designer therefore emerge before the back- ground of educational and professional application of research, and engage with the existing methodologies in studying fashion. They form part of an ongoing project that
is developed with the Museum for Applied Arts/Contemporary Art in Vienna (MAK) since 2008.1 It focuses on the work of Carol Christian Poell, an Austrian-born fashion designer who resides in Milan.2 The project establishes an online database of Poell’s work and provides critical reflection through a series of public exhibitions, catalogues and academic publications.3 The web-project is constantly updated and provides an open source for fashion students and the wider public; at the same time, its format pioneers new theoretical and discursive models for engaging with material, creative practice.

[drizzly]

actual page numbers 58/59

[Peasant]

I'm not sure how long Carol's last pattern-maker was w him but many of the concepts we see today were conceptualized many years prior. A good p.m. can make those dreams a reality. When this last one left his designing was basically at a standstill until she was replaced (which has happened). The awesome news is that she will be creating her own products. All I need is one more designer to romanticize and blind me I to bankruptcy.

Correction: It was Carol's assistant who left. Not his pattern-maker, although that is what many people believe.

[sagill1119]

i don't think anyone has would give you

Does anyone have access to the 'collections' part of this website:

http://carolchristianpoell.mak.at/acl_users/credentials_cookie_auth/require_login?came_from=http%3A//carolchristianpoell.mak.at/collections/male/fw9495/notiz

thanks in advance

[sagill1119]

Pop in one of the ccp retailer, if you are lucky, they might be able to show you.

Reason for my inquiry is that I would like ALL of the photos for each individual male & fe-male CCP collection as listed below:


MALE
2010 DEAD END/SELF-EDGE
2009 SELF-SAME
spring/summer 08 00
fall/winter 07/08 DISJOINTED
spring/summer 07 PARANOID
fall/winter 06/07 B-SIDES
spring/summer 06 U-TURN
fall/winter 05/06 ON DEMAND
spring/summer 05 DISPOSSESSED
fall/winter 04/05 INSTANT COLLECTION
spring/summer 04 MAINSTREAM-DOWNSTREAM
fall/winter 03/04 SPACE-INNER SPACE
spring/summer 03 AT 'TAMISER'
fall/winter 02/03 ATTRACTION
spring/summer 02 TRADITIONAL ESCAPE
fall/winter 01/02 PUBLIC FREEDOM
spring/summer 01 THREE REFRIGERATED CELLS
fall/winter 00/01 PURE-IMPURE
spring/summer 00 FORM-MATERIAL-COLOUR
fall/winter 99/00 FORM-MATERIAL-COLOUR
spring/summer 99 VIRTUAL COLLECTION
fall/winter 98/99 SUFFERING
spring/summer 98 IMPROPER
fall/winter 97/98 AERODYNAMICS
spring/summer 97 LASER COLLECTION
fall/winter 96/97 DERMATOGRAPHISM
spring/summer 96 PIERCING
fall/winter 95/96 PROTECTIVE
spring/summer 95 FIRST INTENDED COLLECTION
fall/winter 94/95 NON INTENDED COLLECTION


FE-MALE
2010 SELF-EDGE
2010 DEAD END
2009 SELF-SAME
spring/summer 08 00
spring summer 07 PARANOID
fall/winter 05/06 ON DEMAND
spring/summer 05 DISPOSSESSED
spring/summer 02 EXPECTANCE
fall/winter 01/02 A PECULIAR FEMININITY
spring/summer 01 A MASCULINE FEMININITY
fall/winter 00/01 TRILOGY OF MONOTYPOLOGIES III
spring/summer 00 TRILOGY OF MONOTYPOLOGIES II
fall/winter 99/00 TRILOGY OF MONOTYPOLOGIES I


If anyone can help sourcing these images it would be greatly appreciated.

[lowrey]

Reason for my inquiry is that I would like ALL of the photos for each individual male & fe-male CCP collection

oh cool

I would like an object dyed flying unicorn

[SHYE_POSER]

/\ snap, can I special order one too.

I posted a link somewhere in this thread with all the images for mainstream\downstream.

Happy Hunting....

[sagill1119]

LOL!!

oh cool

I would like an object dyed flying unicorn

[Chinorlz]

To keep the thread going... here's a screen cap of the new video on the CCP site:

[IMG][/IMG]

Hard to tell what is new on there and what is stuff from earlier. The person is definitely wearing the shoes trapped in the rubber block. The jacket may also be that same semi-translucent fabric he's using for some of the coats which were sold at Ink.

Pretty sweet wheelchair design though. Lots of custom machined looking components on there.