Odella Yue is originally from China, growing up in China and England was an interesting experience, she enjoyed her exploration in the two very different cultures, both of which have influenced her design style greatly.
Odella appreciates Chinese traditional culture as well as modern digital culture; her work is often inspired by her Chinese heritage and transformed into fashion designs with a modern digital twist. Growing up as a child, she was always the nerdy one and used comic books and games to dream and escape to a world of unfettered imagination.
My collection gets its inspiration from peasant’s life on the turn of the 19th century, just before the Russian Revolution. It was a hard and significant time in history, when old and new worlds collided. Dramatic changes occurred in peoples minds.
The main element of the whole collection is the fabric’s textures. It has a neoprene structure and golden embroidery 3D effect. This old decorative technique was my main inspiration. I wanted to recreate this with modern technologies, as I wanted to keep a noticable contrast between traditions and modernity.
The collection SS’19 ’No man’ is a story about a woman who is living without a man. Her feelings and her state of mind were investigated and transformed into the garments. The inspiration was driven by artworks of the contemporary artists such as Polly Borland, Eva Hesse, and Sarah Lucas. The feminism theme was exploring within the collection.
The designer reused and remade such feminist items as tights, bras, and pants for making some of the garments of the collection. The shapes, silhouettes, details, and the way of construction/deconstruction of the garments are the way of telling this story. It is not just garments it is the way of expressing feelings. The collection SS’19 ‘No man’ questions what is the womenswear and the garment itself.
The collection results in a frenzy of colour, joyful texture and subjectivity, all of which - much like a piece of artwork - is up to the viewers interpretation. Is it really joyful or is there something else? Olivia’s hopes to illustrate the importance of family through her brothers story and his incredible artwork. In an vision-dominated platform such as fashion, she hopes to push that not all artists or creatives create just by seeing and sometimes emotion can speak for itself.
Olivia used her abstract photography as the key development when it came to designing her collection. By capturing the uncontrollable reactions triggered during physical and chemical changes she aimed to use her photography to spark a vivid colour palette, pairing pops of citrus tones with translucencies.
Initially inspired by David Mcleod’s 3D digital illustrations that represent movement and fluidity. The synthetic surfaces in Mcleod’s abstract compositions used in the IBM Outthink campaign illustrate the transition between different states of matter such as liquids, solids and gases.
Omosefe’s first HUMANWEAR collection is inspired by the drive to materialize the ephemeral connection between the air that passes through the fabric and the act of that fabric moving in response. With the addition of a historical context, a time period, a feeling- sadness, happiness, she asks, how does fabric move then? This comes as a response to her aim to understand the intrinsic nature of human emotion in relation to human action. What makes us move in the world the way we do. How do we make our movements visible, seen, the way that they are? An analytical thought process extrapolates the theme of said movement, the emotion, the place, the time, the wearer- the life of the wearer’s past, all to design and reveals the act itself.
This collection started with research investigating the history of camouflage, but during the initial research stages Orlanda was also writing her dissertation and that research quickly took over and began to dominate her creative projects. The dissertation, which explored the symbolic nature of the hoodie and its manifestation of toxic masculinity in urban British youth culture, mirrored the stories of the young men around her, and that of her own experiences and understanding of the social pressures on men, witnessed in her family.