Contents
Odd
OddSpring / Summer 2012
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Two
Sven Hoppe LCF MA ‘10.
Credits
Odd
PicturesWords
EDITOR-IN-CHIEF / Gemma Kirk
CREATIVE DIRECTOR / Gemma Kirk
ART DIRECTOR / Liam Smith
CONTRIBUTING WRITER / Gemma Kirk
CONTRIBUTING PHOTOGRAPHERS / Mark Dorrian / Scott Schuman
Garance Dore / Vanessa Jackman / Tommy Ton / Todd Selby
Odd is published by Gemma Kirk Ltd. To subscribe please telephone +44 (0)20 3278 0220 (UK)
Reproduction of any part of this publication is strictly prohibited without prior permission from the publishers
including all logos, titles and graphic elements. All rights reserved © 2011. Printed in the United Kingdom.
Four
Wouter Baartmans LCF MA ‘10.
An examination into why genetic changes in human DNA, resulting in physical
deformities that necessitate radical alterations to garments have inspired designers
to focus on the exaggeration or minimisation of certain elements of a garment to
produce a ‘look’ which occasionally shocks but sometimes dictates a trend.
“Know thyself, pathologically, what a fragile bubble you are; and exposed to a
thousand calamities. If you understand these things, you are a man and a genus very
distinct from all the others.” - Armand Marie (Date unkown, page unknown)
Our DNA, the hereditary material of life, affects how we look, how we behave
and our physiology. A code-change (or mutation) in the DNA of a single body cell
or a number of body cells can cause minor, and in some cases major changes
in many aspects of an organism’s life. Human genetic mutations have fascinated
scientists since the mid-nineteenth century in a continued endeavour to both uncover
and develop an understanding of the evolution of our species.
When searching the word mutation in the dictionary, the definition “the deletion,
insertion, or rearrangement of larger sections of genes or chromosomes” sums up
perfectly how I have investigated my silhouette on a mannequin. I have deleted,
inserted and rearranged parts of garments to ‘mutate’ them.
Enjoy the magazine. - Gemma Kirk.
Editor’s Letter
Six
Odd
Genetic Changes in Human DNAA Thousand Calamities
Rick Owens Givenchy via Dis Mag Shoulder Dysmorphia
The central theme of this collection is the exploration of the more extreme human DNA
mutations which often lead to physical differences that are regarded as abnormal
or ‘freakish’. In such cases, radical alterations to classic garments are a necessity to
disguise deformity.
DNA
Eight
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Physical Differences‘Freakish’
Cigouave via fuckyeahgoths.tumblr.com
Tailored shorts from the 1930s to the modern day could be worn by Johnny Eck
to hide his shortened torso and lack of legs.
Shorts
Ten
Odd
Johnny Ecksub
Above: By Scott Schuman, The Sartorialist - thesartorialist.blogspot.comOpposite: Image taken from the Johnny Eck Museum
Shorts and cropped trousers fitting people with little or no legs.
Shorts
Twelve
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Subsub
Above: By Scott Schuman, The Sartorialist - thesartorialist.blogspot.comOpposite: Illustration by Tripleeyelidsart
Samantha Edwards creates a disproportionate silhouette with an exaggerated right
shoulder like that of the suits worn by John Merrick.
The Elephant Man
Fourteen
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Johnny Ecksub
Above: Samantha Edwards LCF MA ‘07Opposite: John Merrick the ‘Elephant Man’
Rick Owens McQueen via Dis Mag Shoulder DysmorphiaRick Owens Rick Owens via Dis Mag Shoulder Dysmorphia
Shoulder Dysmorphia
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Exaggerated shoulders of Dis Magazine’s ‘Shoulder Dysmorphia’ (see previous
page) hidden by Ruth Costello’s oversized, slouchy blazer and the padded shoulders
by Raf Simons.
Eighteen
Ruth Costellovia F Tape Roar Talent
Raf Simons Autumn / Winter 2009 Raf Simons Spring / Summer 2010
As part of Commes des Garcons S/S ‘11 show Kawakubo seems to have emulated
the positioning of Siamese twins Daisy and Violet, known as the ‘Texas Siamese
Twins’.
Siamese Twins
Twenty Two
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Subsub
Taken from The Sartorialist - thesartorialist.blogspot.comAll garments by Commes des Garcons SS ‘11.
Tom Browne too in his A/W ‘09 collection seems to have taken inspiration from
Conjoined Twins.
Siamese Twins
Twenty Four
Odd Taken from The Sartorialist - thesartorialist.blogspot.comAbove: All garments by Thom Browne AW ‘09
Opposite: Illustration by Tripleeyelidsart
Kenny Easterday (above) has oversized shoulders and arms to help him move around
but it can also be seen used in the opposite image for fashion purposes.
Shoulders
Twenty Six
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Subsub
Taken from The Sartorialist - thesartorialist.blogspot.comAbove: Taken from M O O D - http://haw-lin.com
Opposite: Kenny Easterday
Another example of how exaggerated shoulders in particular can be used in garments.
Altered proportions and exaggerated elements within garments now form part of
what are often applauded as innovative, exciting and ground-breaking design
classics. Some designers push the boundaries and demonstrate that whilst slightly
exaggerated elements within garments may be controversial and interesting visually,
wearable and current looks can be created.
Shoulders
Twenty Eight
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Examples in fashion
Image source unknown
Colour Palette
Thirty
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In the 1920s and 30’s when sideshow acts were at the height of popularity,
fashionable colours to be seen in were beige, brown, navy blue, grey and light blue.
Fabric Swatches
Thirty Two
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Krivo Blazer
Thirty Four
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Toile Development
needs lining
get rid of vent
waistcoat over blazer look
Krivo Shirt
Thirty Eight
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Toile Development
double collar placement sew 2 shirt patterns end to end
button stand all the way around bo
th raw edges
add sleeves
shape outside to make it more interesting
Merrick Shirt
Forty
Odd
Toile Development
too much fabric
interesting shape flat
too straight and long
make much tighter, twistier and add collar
make into shirt?
Forty Two
Distortion of the human form through the introduction of greatly exaggerated or
unexpected shapes into garments results in fascinating, questioning and sometimes
disturbing images which often echo the real-life struggles faced by those living with
some sort of genetic mutation.
Odd
Merrick Trench Coat
Forty Four
Odd
Toile Development
take up and in
sleeve too bunched
add belt
define facings
shoulders too big
Forty Six
A softly sculpted silhouette which is wearable, comfortable and visually exciting. In
essence; to enable extremes to be cloaked in subtlety.
Odd
Pleated Berry Trousers
Forty Eight
Odd
Toile Development
lower waistband more and shorten legs
take in at hips
lower waistband more and add pleats
Fifty
Use of fabrics with a variety of textures and patterns support and exaggerate the
important ‘mutated’ features of each garment to create an overall look which provokes
interest from the onlooker but provides confidence to the wearer.
Odd
Tocci Shirt
Fifty Two
Odd
Toile Development
neck through different neck line
leave loose and add opening at
front
sew up 2 of the neck lines
take in draping
squint neckline and coll
ar
Tocci Blazer
Fifty Six
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Toile Development
take in under left s
leeve and add right
sleeve
round off edges of front
Top Shapes
Sixty
Odd
Sixty Two
Final OutfitsOutfit 1
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Sixty Four
Final OutfitsOutfit 2
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Sixty Six
Final OutfitsOutfit 3
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Sixty Eight
Final OutfitsOutfit 4
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Seventy
Final OutfitsOutfit 5
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Seventy Two
Final OutfitsOutfit 6
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Seventy Four
Line Up
Odd
Range Plan
1 Pleated Berry Trouser
2 Pleated Avery Trouser
3 Pleated Eck Shorts
4 Straight Berry Trousers
5 Straight Avery Trousers
6 Straight Eck Shorts
7 Merrick Shirt
8 Krivo Shirt
9 Tocci Shirt
10 Merrick Jumper
11 Krivo Cardigan
12 Tocci Jumper
13 Tocci Blazer
14 Krivo Blazer
15 Merrick Trench
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Seventy Six
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9
4
6
3
5
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11
12
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Lookbook
Odd
OddSpring / Summer 2012
Eighty Two