Alright, yesterday was a bit chunky and a bit zany with colour. It may or may not have given you a headache. I'm soothing one at the moment. I blame the Rioja last night though. So here's to gentler things today with some marble marvels that I've come across of late. Anna Jazewitsch is a Belarus-born, German-residing designer who is fond of collection names that end in '-ca'. Her first graduate collection from FH Bielefeld (did I have to Google Map that? Yes…) entitled 'Ofimatica' was a geometric and structured affair, drawing in as many sharp folds as possible. Her latest collection 'Marmorgraphica', which is also her first proper debut, is a softer touch, one that is fairly polished already without Jazewitsch having even gone through the thinking process of "But will this please buyers?" as she places great emphasis on quality fabrications.
This could have come from her experience working at Felder Felder as well as Lala Berlin and so she has honed in onto her motif, the marble print and dissected it in many ways without going too deep into creating a backstory…
"In the first place, I've inspired me from the structure of marble. This collection has been created very much from the process of designing. I was not about to tell a story, but to work more freely.
The marble print is the red thread of the collection. And I photographed the marble tiles and changed the colors. The prints were mirrored in part and partially breaks the natural history of the marble through consistent black areas. The colors of the collection I have based on the natural marble colors. Marble exists in various mixed colors such as cyan, yellow curry, pad and powdery pastels and black striped. These colors and the marble pressure I have broken through the austere black and transparency."
So in other words, the marble print while strongly present is presented in simply assymetric draped shapes with a soft-edged tailoring that is a relative people-pleaser. I particularly like the way solid colours come through to break up the marble print, emphasising the random lines, strokes and patternation that is unique to marble, especially with the tailored jackets and cropped trousers in mustard and forest green. Predictably I also rate the black and white diagonally opposing transparent outfits but of course would need supporting bodywear on my side…
On another spectrum of marbled where the patternation is soft and faint and looks to be derived from that oily iridescent film you sometimes see reflected off water, Sou Brette's new collection contrasts her established mode of hardware and graphic shapes with more delicate elements. Designer Muqliza Imroni and her Sou Brette jewellery is ALWAYS something that has people grabbing the necklace around my neck exclaiming "What is this?" and I've lost count of the number of times I write her brand name and website (I ALWAYS try and remember URLs…) for people to look up. Muqliza apparently wasn't sick of seeing me wear her stuff and very kindly sent me these pieces from her new collection 'Unknown Waters'.
"While watching the 1953 Alexandr Ptushko film Sadko, Sou Brette's Muqliza Imroni was thoroughly inspired and awed by the golden touch of its incredibly imaginative coloring, splendid characters, and breathtaking portraiture of the underwater kingdom. She wanted to create a collection drawn solely from the imagery of an underwater fairytale.
Unknown Waters was born from this illusive innocence situated beneath the surface of the sea.
Unknown Waters contributes a softer, more organic form to Sou Brette's usual tough, geometric-shaped jewelry. Crystal clear resin filled with faux pearl inlays, ropes dressed in textured marble print cotton in colors representing an underwater realm; have all been carefully chosen to create an honest and personal dream-like collection."
I've not watched Sadko but this prompts me to go seek it out but I have my own set of less-poetic references (in particular a very strange Cantonese series in the 80s where a character from a computer game comes to life, floating down into the 'real world' in a bubble…). As Muqliza explains, the pearls and the marble print soften up the rope and metal ring attachments that carry through from her last collection and the crystal resin has been de-sharpened and moulded into curves that also add an assymetry to some of the neckpieces. Here's to another year of my writing down Sou Brette's URL again and again.