Gabriela Ligenza launches 3D-printed hats for Ascot

Gabriela Ligenza, who originally trained as an architect and interior designer, has launched a collection of 3D printed hats to coincide with British horse racing event Royal Ascot. Ligenza, who has previously worked with artisans and bespoke textile makers, has now collaborated with leading 3D designers to create her 2014 Autumn / Winter collection.

"Working with such a cutting edge technique as 3D printing has allowed me to create what was previously impossible with traditional millinery," said Ligenza and added "With clever balance, old and new crafts and techniques can exist in harmony. Technology, when applied correctly, needn’t conflict with centuries old art forms,"  

The designer has also worked on the adaptation of a mathematical art piece by Francesco de Comite into a Cirrus hat, collaborating over email, Skype and through visits to Lille University in person. According to her this is something that she is going to continue…


Gabriela Ligenza

Combining contemporary, sculptural shapes with a softness and femininity that is eminently flattering to the wearer, Gabriela Ligenza’s impeccable taste is evident in each of her handcrafted designs.  Works of art in their own right, Gabriela describes her hats as being “like sculptures on the move”.  Her training as an architect and interior designer can be seen in her eye for detail and her love of textures, mixing them together with a wonderfully sophisticated colour palette.

Gabriela’s stunning creations have graced the heads of royals, movie stars and fashion conscious women for 25 years throughout the world.  Working between Italy and London, Gabriela’s Ellis Street boutique, just around the corner from Sloane Square, provides a chance to experience expert personal advice on choosing the perfect hat to compliment your outfit for every occasion.  Whether you want a head turning hat for the Summer Season, or an elegant hat for a Winter wedding, or if you are in need of casual straw sun hats and cosy cashmere braid cloches, Gabriela has a breath taking selection of one off and limited edition pieces to choose from.


These Crazy Science Experiments Transformed into a Gorgeous Abstract Art

Paintings from Klari Reis all appeared on Petri dishes.

 As choreographer Twyla Tharp argues in her bestseller The Creative Habit, a successful artist is often more a master of routine than a vessel of divine inspiration. San Francisco painter Klari Reis’s current painting project makes a case for the routine approach: For each day of 2013 she’s elected to create a unique image, using a Petri dish as her canvas, creating art that looks both like abstract painting and the results of a science experiment.

It’s a fitting backdrop for an artist inspired by the life science industries in the Bay Area where she lives. She calls her work a “product of biological techniques, which provide context for the artworks and explore the increasingly fuzzy line between the technological and the natural.” Working with epoxy polymer, her goal is to “depict electron microscopic images of natural and unnatural cellular reactions.”

These mini-paintings are a reminder that daily creative output is the best habit to form. If you’re a writer, perhaps that means a daily blog post. And if you’re an artist interested in cellular chemistry, perhaps you should consider the Petri dish approach.



Lee Schein

Lee Schein is an fashion artist, specializing in illustration and wearable art. She is working with experimental textiles, printmaking and character design, inspired by real and non-real cultures.

She is recently graduated in visual communications and illustration from the Wizo Academy of Design, Israel. Her final project called “Wild Realms” is an anthropology work about fictional civilization of warriors. Her world is inhabited by strange creatures, well-dressed and accessorized.They look perfect, between Tim Burton and African Art.

"Wild Realms" was showed with a wall of miscellaneous "remains": dental clay models, handmade felt pieces and few pairs of feet made from a mixture of sawdust and mud.



Josephine Kyhn

She is an 26 year old illustrator based in Copenhagen, taking her master in illustration at The Royal Danish Academy of Architecture, Design and Conservation. She like to tell stories through experiments with material and expression, and balances between the naive and more surreal.




 Odessa Series is the second collaboration between young designer Masha Reva and Syndicate of Kiev.

The concept of Odessa Series is about a new take on Ukrainian kitsch and an ironical view on how Ukrainians desire to look luxurious. By presenting paradoxical elements within the imagery such as an enormously expensive jewelry-piece from Christie’s auction, placed next to a cheap vintage brooch found on an Odessa flea market, perfectly define the elements which now seem to make up a contemporary Ukrainians fashion DNA.

The name of this second series was derived from Masha’s home city of Odessa, beautifully situated on the Black sea coast in Ukraine. It represents the fantastic fusion of traditional Ukrainian with many other global cultures and nationalities.

The look-book was shot under creative direction of London based photographer Madame Peripetie and stylist Stella Gosteva.


Credits :












Pernille Snedker Hansen has repurposed an old marbling technique giving nordic wood a supernatural, organic, colourful and vibrant pattern.

Created slowly drop by drop on a watersurface, the pattern reflects the growthring patterns in the natural wood. The unique ornamentation of wood is perceived with renewed visual intensity, and seen as the ornamentation of the wood itself has been enlarged and intensified.

The wooden planks are made one by one, and thus each floor board acquires a unique pattern of coloured stripes. Pernille Snedker Hansen has combined the traditions of marbling from the bookbinding profession with the traditional Scandinavian pinewood floor, creating a wooden floor that forms a never-ending array of details and colour combinations at one’s feet. In Pernille Snedker Hansen’s own words: ’ As the eye moves across the floor and further into the horizon, the details blur, which leads to a calmer and more natural, monochrome surface.’

The Marbelous Floor “Arch” is designed in two colous, Green and Brown.

Marbelous Wood was represented by the Danish Craft Council in 2011 - 2012.


Date: 2011

Danish Craft Council

Crafts Collection 15

Wallpaper* Design Award Price 2012

Nominated at the Danish Biennale for Crafts & Design 2011

Materials: Pinewood flooring, Marbling Pattern, Lacquer

Size: 45 m2 (13,5 x 73 cm pr. board)



 Petrina Hicks’ Beautiful Creatures appeals to our senses. Immediately alluring the large-scale, hyper-real photographs, are all rendered so clearly and with such control they are reminiscent of advertisements, promoting a slick new television series perhaps, or teen clothing range. But with a series of little ruptures, within images and between them, Hicks disrupts our usually beguiled response to such artistry. For her, photography’s capability to both create and corrupt the process of seduction and consumption, is of endless interest.

Hicks loads her images with history and associations but denies us a clear message. Along with the ambiguity, there is a visceral quality in these new works, her depiction of flesh, hair and veins stops the viewer short of being lulled into consumption. In the series The Performance, for example, a seemingly innocuous image of pristine teenage girls quickly turns sour. As their peer pulls up her t-shirt to reveal a gaping wound, it is with cold fascination rather than concern or dismay that they lean in closer, and one cringingly probes the open flesh with her finger. This subject matter, which appears more at home in a Baroque painting, is rendered in a highly 21st Century manner, evenly lit and pristine. It suggests, this time in true Baroque fashion, that there are alternative truths beneath the surface.

Hicks engages a playful yet confronting approach to confound our expectations. A cat, naked without fur, in the image Sphynx, contrasts a beautiful blonde with a face full of it in Comfort. In Emily the Strange the hairless creature reappears with a young girl whose piercing green eyes, skin-pink dress, and latent defiance, make her eerily akin to her pet. Alluded to with the title of the exhibition, this duality is present in much of the work. Her subjects are not simply beautiful or simply creatures.

Finally, in The Chrysalis, a video work filmed on Phantom high-speed camera at 800 frames per second she takes us beyond seduction. The cliché imagery of flowers, so fresh they gleam with dew, is perverted as Hicks’ model lavishly licks a bloom, her perfectly dripping saliva captured in glorious detail and high resolution.

1. Comfort, 2011. Lightjet print -100 x 98cm, edition of 8 + 1AP

2. Sphynx, 2011. Lightjet print -100 x 100cm, edition of 8 + 1AP

3. Into the Abyss, 2011. Lightjet print -115 x 76cm, edition of 8 + 1AP

4. Infinity, 2011. Lightjet print -100 x 100cm, edition of 8 + 1AP

5. Newborn, 2011. Lightjet print -100 x 103cm, edition of 8 + 1AP

6. Emily the Strange, 2011. Lightjet print - 100 x 98cm, edition of 8 + 1AP

7. Lauren, 2011. Lightjet print - 100 x 100cm, edition of 8 + 1AP

8. Lauren with Fruit, 2011. Lightjet print - 100 x 100cm, edition of 8 + 1AP

9. The Crysalis, 2011. Single-channel high definition phantom video 6:00 minutes, seamless loop edition of 5 + 2AP

10. The Forest, 2011. Pigment print - 100 x 100cm, edition of 8 + 1AP



Nakashima Harumi was born in a farm area. His experience with the natural growing processes of plants, trees and vegetables made a deep impression, and became a major influence on his work as a ceramist. He studied with two important sculptural artists: Hayashi Yasuo and Kumakura Junkichi. Nakashima’s career has combined his early fascination with plant growth with the challenging sculptural ideas from his two master teachers, leading Nakashima to make his unique biomorphic sculptures.

The basic component of his sculpture is the sphere covered with dots, both in a variety of sizes. The spheres and dots expand and contract. There are sinuous cylindrical connections among the spheres. Sometimes, the cylinder turns into a waving ribbon or collar form uniting the spheres and delightful interrelated shapes. His work is unfailingly joyous and playful

Since 1989 I have created pieces for “Bag Series” which focused on expressing the very inner parts of me. I think that period was created by a romantic obsession that existed in me . Now I face my life with more clarity (…). Now I prefer to work ceramics to express the pain that lies wthin every human being. By doing so, this justifies my existence. “


I find myself when working with ceramics, and my suffering transformes as I develop my creations, to finally reveal a sculptural form.»


Harumi Nakashima



Gautier’s Dream
Catherine Edelman Gallery
Chicago, March 7 through May 3

Their newest series of Robert & Shana ParkeHarrison, Gautier’s Dream, marks a return to b&w imagery that reveals their love of opera, dance and cinema. In these stagings, Robert would dress in a black suit and starched white shirt, often referenced as the Everyman, and interact with the land, creating environmental performances. These surreal images addressed issues about the earth and mankind’s responsibility to heal the damage he created, and can be seen in their well-regarded first monograph, The Architect’s Brother, and in their second book of color images, Counterpoint. Inspired by French artist, writer and critic, Théophile Gautier, these new works explore dramas that unfold in front of an audience and behind the velvet curtain. Their Everyman, once obsessed with saving the earth, now breathes in the earth, his face inhabited by sunflowers and daffodils (The Lover); becomes a collector of moths/butterflies by listening to them (Thief of Paris); and turns into a willing puppet, dressed in a top hat, awaiting his grand entrance (Apparition of Mallarmé). As the artists state:

Our everyman balances on a small circus platform as he breaks from his burden of salvaging a dying world. These unexpected visual moments are not necessarily what the Everyman signed up for. But he partakes in the timelessness of ritual and make-believe. It is a world only slightly removed from his standard tasks. In fact, outside, beyond the velvety curtains and spangled chandeliers, we see the very the landscape he often tirelessly tries to rejuvenate and repair. The stage offers endless narrative possibilities and favors contradictions – hope and despair, desire and failure… to explore the fragile human condition, and the overarching shadow of environmental destruction. Perhaps the only true hope for our world and our human spirit rests in our ability to imagine.” 



Footwear designer Benjamin John Hall dispersed black dye onto his latestshoe designs with a series of physical processes – including smashing, spraying and squeezing – during a live event at London College of Fashion.

Benjamin John Hall’s Design by Destruction project involved patterning custom-designed shoes using black dye embedded into or applied onto a set of three pairs of boots.

As part of the performance, he took a hammer to a pair of white leather ankle boots with porcelain beaks that had the dye encased within them.

A wedge was placed beneath the curved sections before Hall hit them with a hammer to crack them without breaking off the protruding sections. The dye sept out of the cracked porcelain to colour the tips of the shoes.

Hall took cues from the 1960s Destructivist art movement, but wanted the experimental performance to inform future work rather than just result in broken items.

After weeks of testing, Hall devised different processes to dye the shoes. For a pair of knee-high leather boots, Hall squeezed moulded leather pouches positioned on the shins and filled with dye so the black liquid spurted out and patterned the white uppers.

He also sprayed dye onto each white fabric leg of a pair of thigh-high platform boots, revealing horizontal strips that hadn’t received a water-resistant nano technology coating that was applied to the rest of the material.

The project built on his previous work, in which he created a set of shoes that underwent a series of physical changes representing stages in a life cycle.

During this performance, models were lead through plastic strips hung in a door frame and along a custom catwalk designed by London studio The Decorators that was created to accommodate the activities planned for other events in the series.

Afterwards, the models stood around a semi-circular platform so attendees could examine the end result close up and to give the dye a chance to dry.

Design By Destruction

Design By Destruction is a new body of work from award winning footwear designer Benjamin John Hall. As a follow up to his Birth, Life, Death and Resurrection collection he continues to explore design methodology and process, in this case through three experimental dying techniques designed to occur post shoe production. The work was influenced by the Destructivist art movement of the 60s where objects were destroyed in live public performances.  However, unlike the Destructivist’s art that cannot actually exist by its very nature, Benjamin’s shoes do live on in their newly tainted forms. Shoes are waterproofed with nano technology then spray dyed, ink capsules are squeezed until they burst and internal porcelain structures smashed to seep ink on to external material, all of which effect new dying methods and creative outcomes through destructive actions.


”Benjamin John Hall takes a hammer to porcelain shoes during live dying event”

Footwear designer Benjamin John Hall squeezed, sprayed and smashed his shoes to dye them during a live event at London College of Fashion.

Benjamin John Hall’s Design by Destruction project involved patterning custom-designed shoes using black dye embedded into or applied onto a set of three pairs of boots.

Models were lead through plastic strips hung in a door frame and along a custom catwalk designed by London studio The Decorators, which was created to accommodate the activities planned for other events in the series.

The first pair of knee-high leather boots had white uppers and black legs, which pouches filled with ink positioned on both shins.

Hall squeezed these pouches so the ink spurted from them onto the white sections, spilling onto the catwalk and causing the audience the jump back slightly. The dye created splattered patterns across the front of the shoes.

Next out was a pair of thigh-high leather boots with black uppers and platform heels, and white legs.

Hall sprayed each leg with dye from a bottle with a special nozzle, revealing horizontal strips that absorbed more dye that the rest of the material.

Finally, he took a hammer to a pair of white leather ankle boots with porcelain beaks that had the dye encased within them.

A wedge was placed beneath the curved sections before Hall hit them with a hammer to crack them without breaking off the protruding sections. The dye sept out of the cracked porcelain to colour the tips of the shoes.

The models then stood around a semi-circular platform so attendees could examine the end result close up and to give the dye a chance to dry.

The live display was the first in a series of 13 events curated for the relaunch of London College of Fashion’s Fashion Space Gallery, which took place at the venue just off Oxford Street.




The Surrealism in Photography by  Madame Peripetie

Dream sequence is a long-term award-winning photographic book project. It oscillates around the portraiture of unconventional fictional figures seen “at the crossroads between fashion, photography, performance and art” (Sharon D. Lloyd).

The main inspiration emerges from surrealism and film interms of philosophical aspect of beauty and brilliant as in cocept. All the characters act in variant protagonists delineated within body paintings, prosthetics, wings, modern 3D make-up techniques and real flowers in this photoshootings. This book is a beneficial source for both designers, fashion designers, performers, make-up/ hair design and body artists as well.




MINIMAL ANONYMITY - Mono-Chromic Reincarnation 

Hat Designs aw 13/14 

The concept is based on a minamalistic examination of a body with clothing in a psychological manner. 

Inspiration: Incubus - Anna Molly video, “a woman who may or may not exist in real life”. A woman who is found at a park, presumably deceased, and shows how she is passed from an ambulance on a stretcher, into a mortuary, and finally on an autopsy table. Throughout the video,she is shown moving her fingers little by little, even as she is put in a freezer. At the end of the video, as a medical examiner is aboutto perform the autopsy, her fingers move again, accompanied by a stream of tears. As the doctor brings his saw to her head, she reaches up and grabs his wrist tightly.

Story of a confused personalIty as a sense of reincarnation who seeks the past for to fInd out the actual truth. A lIfe… 

Hat Designs&Concept: Ersel ÖRGE

Styling:Behnoud KHASHE

Model:Natasha RAZBRODINA


NABA - Nuova Accademia di Belle Arti Milano



Jaimee McKenna - Autumn Winter 2013 

Knitwear specialist, Jaimee McKenna, took pleats to the next level with her sculptural MA final collection. Inspired by Yves Klein, Jaimee punctuated her almost solely cobalt blue collection with well placed panel of navy color. Layers of blue fabric pleated into origami-like patterns bounced down the catwalk at her Autumn Winter 2013 show.Comprised largely of long dresses with flowing skirts and structured tops, Jaimee’s garments show great technical skill and, whilst on the courageous side of wearable, have a flattering effect on the wearer.



MAIKO TAKEDA -  Atmospheric Reentry (2013)

Hundreds of colourful bristles emanate from headdresses in Maiko Takeda’s millinery collection, presented at the Royal College of Art fashion show. The Designs  consist of transparent plastic spikes tinted with colour gradients at the bases and tips, which are held in place between sections of acrylic joined by small silver rings.