There may be situations when someone becomes uncertain of something, there may be situations when it is hard to decide, there may be situations when we do not understand things and there may be situations when we make the wrong decisions.
Nowadays uncertainly is so common both physically and mentally that it has almost become a syndrome of our life.
Often it leads to depression, many times only to thinking and inspiring creation. We experience these and similar phenomena day after day. Such occurrence of uncertainly is present when we travel by car, train or by plain. Things hurry past us and it is very seldom that we can perceive and observe them while they are in motion. The time, movement, force behind phenomena confuse even the most elementary human perceptions.
Our brain can transform these details into a whole, a 3D picture, and thus a picture of the whole city is created in us. These perceptions will assemble, integrate and constitute an impression. But nowadays these integrations of experiences and information become tangled, giving way for the effect of uncertainly.
If someone tries to translate the events occurring in the designs (which I showing here in the "conceptual works") into a professional language, one must consider the folowing points:
· The meaning and image of space-time-motion.
· Besides (instead of) the static view the questions that arise in connection with the dynamic view, that is, perception in motion.
· The meaning of realistic, and their inherent problems. The real which serves as a certain footing, and the unreal which is so often eluding.
· The interpretation of intonation. False and true, static and dynamic, construction and deconstruction of forms, that is to say, the development of standards, double standards, and function.
My work somewere is based on the way of deconstructyvism, which widely used in the contemporary architecture. I think to translate that in fashion design otherwise it means broken forms, broken dimensions, a deconstructed world. Form and function are separate notions, but form bears no meaning which, however, incites number of possible meanings in the spectator. The elements of the cloth designs do not fit the way we could expect them, the differing viewpoints give different images: everything depends on where we stand.
 
 
 
 
 

Logic of the forms on the body:

The essentials: Systemizing the relationships of forms and movings, approximating
                         the endless form possibilities by the help of movings by way of
                         aesthetics.
Starting point: deconstructive philosophy in all kinds of fine and applied arts, body
                          proportions and, in its frame moving conventions.
 
 
 
 
 

Sotera Norvilaite
/fashion designer/

E-mail: sipas@novserv.obuda.kando.hu
homepage: http://fashion.cjb.net/
 

                                                                       Budapest, 17  10  1998