hussein chalayan: b side at spring projects

installation view of anaesthetics image © designboom

from l-r: ‘inertia positive – 1, 2 and 3’, 2010 fibreglass, stainless steel edition of 3 each image © designboom

‘b-side’ is an exhibition of work by hussein chalayan at spring projects, london. presenting some pieces which are being shown for the very first time, to others that are being represented in new ways, it showcases chalayan’s explorations into the body, movement and voyeurism, highlighting his fascination with form and process.

‘inertia positive – 1’, 2010 fibreglass, stainless steel pole 83 x 37 x 46 cm variable (form) edition of 3 image © designboom

chalayan is best known as a radical fashion designer, investing his clothing with ideas and narratives with speed, displacement, cultural identity and genetics being some of his favourite working themes. in ‘b-side’, chalayan is seen as sculptor, filmmaker and animator. the exhibition brings together two of his discrete projects: ‘anaesthetics’ and ‘inertia’, which though stand as independent works, together, create a coherent articulation of chalayan’s key themes.

‘inertia positive – 1’, 2010 (back view) image © designboom

‘inertia’ was the name of chalayan’s spring summer 2009 collection, in which the showstoppers were body hugging dresses with dramatic protruding backs created in rubber foam and finished with a liquid sheen. a snapshot of speed and the moment of collision, they added to his inventory of dresses as narrative objects. previous examples include breakable dresses formed in resin and others that translated into pieces of furniture. for ‘b-side’, he has chosen to display the moulds which offer insight into the creation of the work.

‘inertial positive – 1’, 2010 (detail) image © designboom

‘the moulds are really beautiful in their own right, but showing them is about process and the in-between moments. I always talk about movement and animation in my work, but this instead is the monumentalization of the frozen moment. a freeze frame.’ – hussein chalayan

‘inertia positive – 2’, 2010 fiberglass, stainless steel pole 94 x 39 x 47 (form) variable (pole) edition of 3 image © designboom

‘intertia positive – 2’, 2010 (back detail) image © designboom

‘inertia positive – 3’, 2010 fibreglass, stainless steel pole 88 x 40 x 52 (form) variable (pole) image © designboom

‘inertia positive – 3’, 2010 (profile view) image © designboom

‘inertia positive – 3’, 2010 (front detail) image © designboom

installation view of ‘inertial positive – 2 and 3’ image © designboom

‘inertial negative – 1, 2 and 3’, 2010 fiberglass MDF, LED lights editions of 3 each image © designboom

‘intertia negative – 2’, 2010 (detail) image © designboom

‘anaesthetics – 2’, 2010 red cotton dress, paper perspex, LED lights, MDF 150 x 100 x 35 cm edition of 3 image © designboom

‘anaesthetics – 2’, 2010 (detail) image © designboom ‘pull to detach’ tabs image © designboom

installation view of ‘anaesthetics – 1 and 2’, 2010 image © designboom

‘anaesthetics – 1’, 2010 geisha wig, cotteon veil, wig stand, paper, perspex, LED lights, MDF 150 x 100 x 35 cm image © designboom

‘anaesthetics – 3’, 2010 blue cotton & silk chiffon dress, paper, perspex, LED lights, MDF 150 x 100 x 35 cm edition of 3 image © designboom

‘anaesthetics’, 2004 (film still) single screen installation DVD color with sound duration 22′ 22″ edition of 5 + 2 AP image by designboom

considered a ‘film sketch book’, in ‘anaesthetics’ chalayan animates his own designs, working with movement, narrative and sound. those familiar with his work know that music is always an important part of his fashion shows, with soundtracks provided by a range of musical choices – from a live bulgarian chore, to songs by antony and the johnsons, to hussein playing the electric guitar himself. in total, the film consists of 11 ‘chapters’, each based on what chalayan calls ‘institutions which codify behavior in order to conceal violence’. if that sounds extreme, he is referring to situations we find normal – the strange conditions of air travel where artificial air and entertainment keep us subdued; the aggressive way that much refined food is prepared.

‘anaesthetics’, 2004 (film still) image by designboom

the film is shown in its entirety, while chalayan has created light boxes that isolate the imagery from the film, with three dimensional objects. these are on display for the first time for this occasion.

‘anaesthetics’, 2004 (film still) image by designboom