Leon Emanuel Blanck Interview on SZ-mag
BODY LANGUAGE: Leon Emanuel Blanck
“I wanted to drape a piece of fabric into a pair of trousers, because molding on a human body was something we weren’t taught in fashion school” – says Leon Emanuel Blanck, the young German designer whose concise and conceptual collections, after only 4 seasons, are stocked by meccas of all things black and deconstructed such as Antonioli in Milan, Ink in Hong Kong, and SV Moscow. “I couldn’t find anyone to do it on, so I ended up doing it on myself. I had to move and turn a lot while I was at it, so I got a very distorted pair of trousers”.
This is how Blanck’s design concept, which he calls Anfractuous Distortion, was born. To put it simply, it’s about bypassing the “paper” stage of design and pattern-making and focusing instead on the interaction of fabric and the human figure. All styles in his 14-piece collections are created using the same method: a large piece of fabric is draped around a body that bends, stretches and moves as the draping happens; seam lines are put in wherever the fabric creases during that process. “I never intentionally put a seam anywhere” – explains Blanck. “You could say that I take my design intention out of it and just register what happens when the fabric works with the body and vice versa”.
Text by Jana Melkumova-Reynolds
Rest of article on sz-mag
BODY LANGUAGE: Leon Emanuel Blanck
“I wanted to drape a piece of fabric into a pair of trousers, because molding on a human body was something we weren’t taught in fashion school” – says Leon Emanuel Blanck, the young German designer whose concise and conceptual collections, after only 4 seasons, are stocked by meccas of all things black and deconstructed such as Antonioli in Milan, Ink in Hong Kong, and SV Moscow. “I couldn’t find anyone to do it on, so I ended up doing it on myself. I had to move and turn a lot while I was at it, so I got a very distorted pair of trousers”.
This is how Blanck’s design concept, which he calls Anfractuous Distortion, was born. To put it simply, it’s about bypassing the “paper” stage of design and pattern-making and focusing instead on the interaction of fabric and the human figure. All styles in his 14-piece collections are created using the same method: a large piece of fabric is draped around a body that bends, stretches and moves as the draping happens; seam lines are put in wherever the fabric creases during that process. “I never intentionally put a seam anywhere” – explains Blanck. “You could say that I take my design intention out of it and just register what happens when the fabric works with the body and vice versa”.
Text by Jana Melkumova-Reynolds
Rest of article on sz-mag
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