>>backstage at the C19th Salon Imperial at Paris’ Westin <<
these images are gorgeous. they’ve been featured in several blogs and online mags…specifically
i’ve been obsessed recently, and think i will be for quite a while.
and soooo….found out that tsumori chisato was born in the city of Saitama, Japan, and studied fashion at the Bunka Fashion School in Tokyo. In 1977, she entered the Issey Miyake design company as the head designer for â€œIssey Sportsâ€, later renamed â€œI.S. Chisato Tsumori Designâ€. She then started her own line in 1990, and presented her collection Â at the Japan Fashion Week that same year.
Tsumori Chisato’s signature style uses innovative and luxurious textiles, intricate beading, embroidery, appliques and prints designed by her.
but…. (drum roll please) this is what’s new:
2011/ 11/ 14 – tsumori chisato opened shop in Kuwait
2011/11/02 – campaign aw2011-2012
2011/10/18 – finally, the tsumori chisato online store is up
click here ….NOW.
feel free to check her website out here, here, and here
she attended Nova Scotia College of Art and Design and graduated with a BFA in Metalsmithing and Jewellery Design in 2004.
currently she is at Craft Studio Resident at the Harbourfront Centre for the Arts in Toronto, Ontario.
My work with maps began as soon as I moved to Toronto to take up residency at the Harbourfront Centre. As I navigated the city I was struck by the grid-like quality of the Toronto streets, the intersections and interwoven connections. The imposing urban sprawl I reduced in size to a more legible scale, neighborhoods became bracelets and rings, adornment objects as well as informative objects. I wanted the wearer to engage with their neighborhoods, with transparent acrylic pieces wrapped around their hands and fingers like tattoos, their walking history etched into their skin. The gold and silver dotted paths or the walk to work became the adornment object.
Philosophical issues in cartography emerged, the fact that maps are subjective documents oftentimes used by corporations and polititians to convey ownership. I was made aware that the publication I was relying on could’ve been more a document of bureaucratic history than anything else. I therefore began to fabricate my own neighborhoods by incorporating lace patterning into the streetscapes, my own cartographic truth.
This was a significant turning point in my body of work, the realisation that the networks resemble knots and lace. I began to think of my work as a modern form of lace making. Hand cut from metal and vinyl I used elements of product design and contemporary jewellery design to transform the informative systems into decorative motifs. I found that the language and semiotics of cartography lent themselves well to wearable art. Beyond the streets weaving themselves together, the dotted lines became opportunities for patterning and ornamentation, and the fleur-de-lis historically used to point North, became another lace motif to employ.
Our inherent tendency toward mathematical balance in apparent in our urban streets as well as in our history of ornament. My work is an ongoing study of this relationship.
–anna lindsay macdonald–