Anne Sofie Madsen Scenography
DAY 1 RESEARCH Fringe patterns from Anne Sofie Madsens collection and research pics of other fringe scenographies.
DAY 1 RESEARCH Fabric samples and cutting patterns from the collection
DAY 1 RESEARCH Pics of all the bright catwalks from ss12. Beneath video stills from ASM ss12.
DAY 2 IDEA GENERATION While waiting for exact measures of the venue and the backdrop construction I played with paper fringes.
DAY 2 IDEA GENERATION Dialogue with KVADRAT, agreeing it's impossible to send fabric samples within time. We need to choose fabrics right away. I asked for varied fabrics in the colors white, beige, grey, gold, silver, brass and dark blue nuances. They were retrieved from the storehouse and sent to Copenhagen the same evening. Freight duration 3 days.
DAY 3 RESEARCH Meeting on café with project manager, going over the problems on a napkin. Still in need of precise drawing over the building and existing backdrop construction on which my scenography is to be mounted.
DAY 3 RESEARCH Project manager sends the only available drawing over the venue. Impossible to conclude how tall the backdrop is. The construction will not be built until one day before the actual show, so there is no possibility whatsoever to measure the construction in time myself.
DAY 3 IDEA GENERATION Hoping the backdrop is 4 m tall counting on what most people can remember from the last fashionweek. Calculation of materials and minimum fabric dimensions.
DAY 4 IDEA GENERATION Color arrangements sketch, cold version.
DAY 4 IDEA GENERATION Color arrangements sketch, warm version.
DAY 4 IDEA GENERATION Worst case scenario. If we only had white fabrics.
DAY 5 IDEA GENERATION It's monday and the show is on thursday. I had 3 days to complete the scenography, without knowing how much fabric I was receiving.
DAY 5 IDEA GENERATION The fabrics arrived. Photo-color-testing, fire-testing and fray-testing.
DAY 6 PRODUCTION New problem: the work studio I was promised was suddenly in use by others. I needed a new place quickly with lots of floor space. The whole day went by before the team could find another space. While waiting for answers I tried to do some fabric calculation of how the pieces I received could be spent the best way with the least waste, and still getting and aesthetically pleasing backdrop. At the end of the day I had the choice to give up the project or to take the action into my own hands. I moved all the fabric rolls across the city to my own shared office space as the last minute resolution.
DAY 6 PRODUCTION Dividing and arranging the fabric pieces. Since I had no information on how many meters each fabric roll contained I needed to either measure them all, make an estimate or just go with the flow and find a solution when a roll would end.
DAY 6 PRODUCTION Planning the setup of the fabric pieces. At this point I said to myself: this is NOT going to take the whole night.
DAY 6 PRODUCTION Exact measurements of each fabric cutting.
DAY 6 PRODUCTION Exact measurements of each fabric cutting.
DAY 6 PRODUCTION Getting 4 girls from the studio over to cut all the pieces as fast as human possible. A lot of thanks to Julie, Sarah Mi, Hannah, and Viktoria. Couldn't have done it without you.
DAY 6 - 7 PRODUCTION At the end of wednesday - the last day before showday, Rebecca arrived to give a hand with the cutting and mounting. We sent Viktoria and Hannah home to sleep, and Julie, Sarah Mi and Rebecca stayed the whole night until dawn with me.
DAY 7 PRODUCTION Thank you thank you thank you Sarah Mi, Julie and Rebecca! I know it took a lot of blisters and dizzyness. Sorry!
DAY 7 PRODUCTION Mounting the fringes on base-molton piece.
DAY 7 PRODUCTION 1 hour before pick-up. Both Rebecca and went home for a quick shower at 7 o'clock while I stayed behind to do the last stitches before the pick-up car came.
DAY 7 PRODUCTION Note system. The brain works surprisingly slow and gets easily confused without a good system when you haven't slept for 30 hours.
DAY 7 PRODUCTION Cryptic notes showing where the different fabric pieces went in the great arrangement .
DAY 7 PRODUCTION One hour before showtime. Made a quick plan for setting it up on the existing backdrop. We had 20 minutes for this.
DAY 7 SHOW And we made it. Thanks to the wonderful guys that helped me; Rasmus Brøndsted and Allan among others.
DAY 7 SHOW
DAY 7 SHOW
DAY 7 SHOW
DAY 7 SHOW
DAY 7 SHOW
DAY 7 SHOW
DAY 7 SHOW
DAY 7 SHOW
DAY 7 SHOW 20 minutes of show. Taking the whole thing down again.
DAY 8 PRESS Anne Sofie Madsen had good reviews and nice pictures.
OTHER PROJECTS BY Line Falk
DESCRIPTION
A scenography in 7 days.
I made the scenography backdrop for Anne Sofie Madsens AW12/13 show this fashionweek in February.
The inspiration for the collection to which the scenography was designed for was Innuit Culture mixing with Victorian Fashion Aesthetics.
I tried to to accomplish a sense of a female tupilak spirit face appearing in a snowy montain landscape expressed in almost victorian curtaindrape-resembling fabric fringes. The fringe patterns are inspired directly from certain styles in the collection, that can be encountered on Anne Sofe Madsens homepage: www.annesofiemadsen.com
The fabrics are generously sponsored by KVADRAT.
COMMENTS
Fedt at høre Alberte! Det var Rebecca der stod bag alle de velkendte hjælpere, og det er også hendes fortjeneste at jeg kom til at lege med scenografi
: )
Super fedt line! var sikker på du havde en finger med i spillet da jeg så den scenografi og alle de kendte ansigter i døren. Det fungerede rigtig godt til kollektionen.
Tak søde Sara!
Hurra for et gennemført, smukt resultat, hurra for is i maven, hurra for all nighters og for at se hvordan jeres hårde arbejde betalte sig!