Talk:Mary Katrantzou

Page contents not supported in other languages.
From Wikipedia, the free encyclopedia


File:Mary Katrantzou.jpg Nominated for Deletion[edit]

An image used in this article, File:Mary Katrantzou.jpg, has been nominated for deletion at Wikimedia Commons in the following category: Media without a source as of 25 August 2011
What should I do?

Don't panic; a discussion will now take place over on Commons about whether to remove the file. This gives you an opportunity to contest the deletion, although please review Commons guidelines before doing so.

  • If the image is non-free then you may need to upload it to Wikipedia (Commons does not allow fair use)
  • If the image isn't freely licensed and there is no fair use rationale then it cannot be uploaded or used.

This notification is provided by a Bot --CommonsNotificationBot (talk) 23:09, 25 August 2011 (UTC)[reply]

Unencyclopedic paragraphs[edit]

I have removed the following passage from the article, because any information it might contain is hidden under a barrage of advertising language:

Aesthetic and conceptual references

Katrantzou’s work is known for being artsy from the very beginning. In the development of her collections, the designer adds references from various artistic movements, from Russian Constructivism, Art Deco and Futurism to Psicodelia, Op Art, Surrealism and Hyperrealism. In her work architecture, decorative arts and jewellery are also a constant inspiration. These influences, merged and filtered by the designer herself, lead to hallucinogenic pieces of ambiguous beauty. Clothes that seem unreal and atmospheric verging delicacy and kitsch at the same time. The designer harmonizes visual opposites through the mixture of retro and futurism, the fragile and the grothesque. By the frequent use of the trompe l’oeil technique, she helps us forget the distance between idea and image, interpretation and reality, suggesting the rejection of the authenticity of images, just as Magritte and the surrealists did. This choice results in an unsettling feeling of not knowing what to expect. Of being in front of pieces of clothing and works of art at the same time. One of the most recognizable techniques in which Katrantzou leans on, and it highly characterizes her work, is digital printing. A new visual language that the designer applies thoroughly and with mastery on her architectural creations and offers multiples possibilities. This allows her to create illusory effects such as the trompe l’oeil, kaleidoscopic, hipnotic and compelling pictures that - just as a visionary Alexander McQueen did on his two last collections - create a mixture of visual pleasures and uncertainty. This technique alongside the cut, the complexity of the designs and industrial accessories, merge with the images and shapes of the patterns, making the boundary between volume, dimension and perspective disappear. This way, Katrantzou turns each piece of clothing into a harmonious and beautiful chaos full of details. Worth mentioning is the fact that, despite the complexity of ideas and the development of forms, Katrantzou knows how to maintain a purely feminine essence and a strong sense of style in each and everyone of the pieces providing her a wide and creative freedom margin.

The current absence of rules and excess of information, along with the influence of earlier times and the hustle and bustle of a city like London, are source of inspiration for our designer. She succeeds to transmit this reality through decoratively excess and technological experimentation. The designer is aware of the rules because she knows how to tighten, intertwine and sculpt them again. She is able to capture her own personal iconography in her creations delighting us in each of her catwalks with a discharge of her unique source of inspiration that boost our imagination and eyes. Imaginative and far away from trends, Katrantzou gives space to other aesthetic directions through unique and wonderful creations in her individuality that transmit a strong conviction on her style and a defiance of the prevaling minimalism of her era.

Collections

Autumn 2008 / Spring 2009

For her first collection in the autumn 2008, Katrantzou elaborated simple pencil skirt dresses that emphasized the shoulders with round forms. Each dress was embellished with oversize jewerly in the neck both, real and printed on the dress, with massive metal and wooden pieces that reminded us of the Russian Constructivism and Futuristic aesthetics. For her next collection the summer of 2009, the designer presented dresses as an extension of the latter one. She used the same aesthetic and structure of the look: colorful minidresses and more luminous, giant printed necklaces that imitate metal along side real necklaces of the same size, made out of metal and plastic. This way, she was able to level the importance of the accesory with the dress and expressed her view of fashion as a highly visual art. With these two collections, the designer allowed us to see her strong connection with jewerly and craftwork and their graphic and illusional potential.

Autumn 2009

In the next series of dresses, Mary Katrantzou got inspiration from vintage perfume bottles. The designer adapts the shapes of these bottles to the feminine body and, reminding us of Gaultier, highlights tight waists by the optic effect that give the use of vibrant and hyperrealistic printings. With this collection she gave a step forward on the way she designed silhouettes: more sculpted and complex. She adds long dresses that seem far less rigid as well as draped suede trousers. She proved again her talent as a jewerly designer by complementing the outfits with disproportianate necklaces made out of golden metalic pipes, chains and mirrors. Katrantzou started defining herself as a designer. Her point of view of fashion is one of escapism from reality and a continuous search for beauty in the most unsuspected places- places which can only be found through the fantasy.

Spring 2010

For the spring collection 2010, Katranzou presented sophisticated multicolor dresses. She stretched the trompe l’oeil to the the limit. She obtained psychodelic effects by waving and tangling patterns and fabrics This time the designer got inspired by the blown glass technique. More precisely by the master Peter Layton, who also made bracelets and necklaces for her looks. Katrantzou worked on the feminine silhouette through intuitive handmade curves giving a sense of fluidity to her dresses which, originally made out of silk, seemed made out of liquid glass when in motion. In this collection, each look has an oniric and refined universe that is wearable and functional at the same time. A utopia of vibrant glass which, through the most innovative techniques, touch us as it were the most handcrafted fashion.

Autumn 2010

Through this collection, Katrantzou makes her definite bet on the mixture of excess and a captivating aesthetic. In 2010’s Autumn catwalk, she offered a postmodernist point of view of the baroque style. In order to achieve this, Katrantzou inspired herself on the French art from the 1700s through portraits of Madame Pompadour, Nattier and Fragonard; the most grothesque rococo and through napoleonic and military motifs. The look in the pattern of the pieces depart from any geometric trend and bet on asimetric finishes with ripples of draperies on the sides. The predominant use of digital printing allows her to give free reign to the wildest decorative excesses. She adds all sorts of jewerly, gems, golden strings and sparkles to her printed fabrics reminding us of Gianni Versace’s iconic kitsch. Katrantzou created without minding her surroundings and defied, yet again, current trends by reviving reflections from the past and giving them a futuristic perspective showing us that more is more.

Spring 2011

“Ceci n’est pas une chambre” (This is not a room) is the title that the designer gave her new collection. By quoting Magritte, she plays with the idea of introducing living rooms from old villas and hotel rooms from the 70s inside the feminine silouette. The designer found her inspiration in old magazine numbers of Architecture Digest and World of Interiors. She also adopted Guy Bourdin and Helmut Newton’s concept of fashion photography. In it, the model occupied a certain space in the portrait with equal significance to its interior or landscape. Here, Katrantzou reconciled with geometry in order to create a unique collection of dresses, totally symmetric - even in their pattern - and through a more hieratic skeleton. The looks are structured according to printed pictures on the dresses: ceilings fit to the shoulders, windows open in the chest, night sceneries in the pelvis and furniture that, arranged in detail, invite us to enter the intrails of the bodies across beautiful perspectives. The designer used the structure of lamp shades to build some of her skirts, a bold bet that became an instant classic and is a direct legacy of Schiaparelli and the deconstruction of surrealism. These compositions were completed by the attention to detail that defines Katrantzou’s work: glass tear drops in the hems of the skirts, fabrics that flow as if they were courtains, flowers on the sleeves that turn the arms into vases. With this collection, the designer added value to her creations, providing them with the capability of transmiting emotions far more complex like nostalgia, lirism or alienation.

Autumn 2010

On her last collection to date, Mary Katrantzou was inspired by mythical women, fashion icons and art collectors. Charismatic women such as Diana Vreeland or the Duchess of Windsor who, moved by their yearning to be holders of beauty, surrounded themselves with exotic decorative objects and were fascinated by both, chinoiserie and the most extravagant opulence. The designer offers their portraits by blending them to the spaces they inhabit through Fabergé eggs, Meissen porcelains and Ming vases. Throughout her collection, its own lushness brushes the limits of delirium, turning the overelaborated precious objects into rigid structures with a clean cut that, juxtaposed, cover the body. Mary Katrantzou overdid herself yet again unifying concept, technique and aesthetic; she allows us to travel in time, backwards and forwards. And she left us swinging between the catwalk and another dimension where only she can take us to.

--Arno Matthias (talk) 21:31, 29 August 2011 (UTC)[reply]

External links modified[edit]

Hello fellow Wikipedians,

I have just modified 2 external links on Mary Katrantzou. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

This message was posted before February 2018. After February 2018, "External links modified" talk page sections are no longer generated or monitored by InternetArchiveBot. No special action is required regarding these talk page notices, other than regular verification using the archive tool instructions below. Editors have permission to delete these "External links modified" talk page sections if they want to de-clutter talk pages, but see the RfC before doing mass systematic removals. This message is updated dynamically through the template {{source check}} (last update: 18 January 2022).

  • If you have discovered URLs which were erroneously considered dead by the bot, you can report them with this tool.
  • If you found an error with any archives or the URLs themselves, you can fix them with this tool.

Cheers.—InternetArchiveBot (Report bug) 20:07, 4 June 2017 (UTC)[reply]

External links modified (January 2018)[edit]

Hello fellow Wikipedians,

I have just modified 2 external links on Mary Katrantzou. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

This message was posted before February 2018. After February 2018, "External links modified" talk page sections are no longer generated or monitored by InternetArchiveBot. No special action is required regarding these talk page notices, other than regular verification using the archive tool instructions below. Editors have permission to delete these "External links modified" talk page sections if they want to de-clutter talk pages, but see the RfC before doing mass systematic removals. This message is updated dynamically through the template {{source check}} (last update: 18 January 2022).

  • If you have discovered URLs which were erroneously considered dead by the bot, you can report them with this tool.
  • If you found an error with any archives or the URLs themselves, you can fix them with this tool.

Cheers.—InternetArchiveBot (Report bug) 09:41, 20 January 2018 (UTC)[reply]

Retrieved from "https://en.wikipedia.org/w/index.php?title=Talk:Mary_Katrantzou&oldid=1207033233"