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Noovo Editions

Noovo Editions is an independent editorial project with online and paper editions. First of its kind in Spain from an unique and contemporary perspective on the international panorama,
Noovo seeks not only to be an aesthetic arbiter but also a cultural mediator at the juncture between Fashion, Photography & Jewellery.
A platform to show the highest level of creativity from around the world

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Interviews ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
 
 
-----------------------------------------------------------------------------Aitor Throup

 


THE SCULPTURAL EXTENSION OF AITOR THROUP

Aitor develops all his conceptual and formal speech which give expression to all his anatomic and sculptural studys. When he was a child, Aitor Throup dedicate most of his time to draw the movement of the human body.Invert all the hours to give to each of his draws an anatomy, to get a three-dimensional aspect of an inanimate object to create his own internal structure.

Who is Aitor Throup?

Some guy who draws and thinks too much.

You don´t consider as a strict fashion designer, could you explain then your interest for this field?

What I do is draw and design ‘characters’ constantly. I always have done. Some years ago, I became really interested in technical and functional clothes like Stone Island and C.P. Company. Me and my friends began to admire their intricacy and technical innovation. It wasn’t about fashion. It was about PRODUCT. In my spare time, the ‘characters’ that I kept drawing became more and more influenced by this kind of clothing, and their own clothes became more detailed and considered. So in a way, I began to ‘design’ garments without actually intending to.

Is the fashion for you something else than a tridimensional comic which communicate a history through fabrics and structures?

I see fashion as a platform to communicate bigger ideas, philosophies, or even stories. I have my own defined design philosophy – of ‘justified design’. Everything I design has an origin; a reason to exist. My creative control is really within the process. The product becomes almost an incidental symptom of the exploration. I use this philosophy by designing three-dimensional, wearable versions of the characters I design, through self generated processes and techniques.. Often my characters are confined to a specific story which informs the whole collection, so I do think it results in a sort of ‘three-dimensional’ comic.

What are you looking for with fashion? What do you expect from it?

My overall facination with fashion is its close relation and interaction with the human body. I’m obsessed with anatomy and its exploration (mainly through drawing and sculpture). My ultimate goal is to create garments with their own anatomy, and also with their own soul.

Do you think fashion as any other avant-garde creation must be responsible of his potencial conscience, and has to question and motivate a change torwards respect and diversity?

I think that because of its nature and tradition of ‘exhibiting’ itself on a seasonal basis, fashion has a reasonable potential to communicate ideas to a specific audience. People will always consider, if not at least analyse, what a designer has to say if their work seems relevant enough. I consider my personal concerns with the state of the world – often within society and culture – and I find myself being inspired by the need to communicate or highlight certain issues, in my own visual way. I see it as my responsibility to communicate a positive message, rather than just to communicate an aesthetic, or a trend, or style, etc…

How do you pretend to combine your lack of interest to the operation of the fashion industry and your own ethic answer?

There are certain aspects of the fashion industry that I feel really contradict the essence of creativity. Of course, fashion as an industry was born from a ‘seasonal showcase’ tradition, and different cloths are suited and designed for different climates. However, I don’t think that the seasonal structure is very relevant to the way people buy clothes today. To me it seems like a really ‘old fashioned’ concept. Personally, I find it hard to limit my work to a specific season – I would much rather apply each idea/concept/story to all sorts of garments (some summery, some wintery, some neither). Generally, we tend to be wearing the same wardrobe throughout the year. We primarily deal with the weather through layering. I also think part of the industry should make it easier for some designers to be able to show their work at unspecified times, without considering seasons or continuity; as an artist or musician might. These points all relate to my theories on the importance of ‘ethical consumerism’. I’m not just saying that the production side of the fashion industry needs to become more ethical (ie, environmentally aware); I’m saying that we need to consume less, but consume better. I’m trying to generate a demand for justification of price, status and even meaning when purchasing a fashion garment. My product is ethical because it involves you in the design process, it doesn’t dictate a trend or a style. You are able to interact with and understand its origin. You are not just buying a product, you are buying a process.

Talk us about your work process.....

My work is primarily about finding a reason to create/design anything...I am interested in justifying ALL design features (everything has to be there for a  reason – not necessarily functional – I am against decorational values ) Concept, process, philosophy and origin are the real foundations/interests within my work. I generally achieve this by working within my own self-initiated design process. This involves me designing characters and stories based on my drawings, rather than designing clothes. I then CONVERT those characters and their defining characteristics into wearable versions of themselves (the garment), so that any design features are dictated by the character and its relevance to the story.

The proposals of your last collection “When Football Hooligans Become Hindu Gods” reveals a amazing perfect techniques and a sculptural vision, out of doubt. Which is the Quím Medto get this control?

I think three-dimensionally. With my drawing, I am constantly striving to document any interesting explorations of (mainly) the human body in motion. The potential of capturing the movement of the body in different poses from different angles is infinite, so I don’t see why I should limit my work (which is intended for the body) on the generic straight up and down construction. Drawing frustrates me, as it is limited by its two dimensions. I began sculpting versions of my drawings which made it easier to bridge the gap between drawing and garment. I tend to have a sculptural approach in my work, as it allows me to explore form and structure in a way that drawing can’t.

Conceptual pieces for men. I´m a woman and I want one of your amazing clothes, because women also has the right, how do I get one?

I design processes, techniques, ideas, characters, stories… It is easy for me to ‘convert’ those to wearable garments through menswear, as it allows me to have a more honest approach to certain design decisions.. My goal is to create a desirable ‘anatomical’ product with its own sense of origin. Hopefully that product won’t be influenced by style or trends – so ultimately, it genuinelly is just timeless ‘clothes’ or ‘product’. In my opinion, this basic fact makes them wearable by men and women equally, although they were originally conceived as menswear.

What kind of men can wear your clothes?

It could be someone very structurally/functionally minded; or someone quite emotional who seeks for meaning in things. Also, it could just be someone who is genuinely interested in new things that are obviously relevant to current fashion; or someone interested in genuine luxury, who values objects based on their origin, essence or significance as well as their execution.

ITS has recognized your talent and support it, what it means for you (ITS)?

ITS is like this amazingly generous, open-minded and extremely dedicated family. They are passionate about what they do, and they seem determined to make the world a nicer and easier place for new designers (and photographers). I think people like ITS are crucial in the positive development of the fashion industry, as they are showing that a real/relevant fashion product can arise from a creative vision; rather than just from a business plan.

Finally, could you give us, in advance, something from your next collection, please?

I can tell you it’s another story. But I can also tell you that before my next collection, I’m launching (at MAN – Fashion East Menswear – during London Fashion Week) a new concept capsule line based on tailoring. The idea is that it will be the first ever truly collectable designer collection, releasing only one new outfit every season.



More Information:
web: http://www.aitorthroup.com/
email: info@aitorthroup.com

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