[Photos of memo sample, chandelier parts, and brick wall (1-3) are my own.]
I've decided that this printed linen/cotton from John Robshaw for Duralee functions a little like a Rorschach ink blot.
When I look at the terracotta medallions, I see chandelier parts, the mehndi or "henna tattoos" of the 90s, and, if I squint just the right way, lace. But I may have been influenced by Mark Holgate's coverage of Carolina Herrera's Resort 2013 collection. He describes a detail in one of the designer's prints: flowers arranged to look like lace. The leafy tendrils (or what I interpret to be leafy tendrils) in Robshaw's looser, painterly medallions come together in a similar lace-y way.
Not-so-crisp block-prints, sandblasted or aging paint that creates a sort of veil against old brick -- I'm drawn to all of it.
[Images above and below via SCAD Museum of Art. Pictured below is the Pamela Elaine Poetter Gallery, which follows the original rail platform that was once part of the Central of Georgia Railway complex, a National Historic Landmark. ]
With its massive expansion, the SCAD Museum of Art preserved original 19th-century Savannah gray brick walls handcrafted by enslaved Savannahians. As mentioned earlier, the project enabled SCAD to once again focus on adaptive reuse of neglected structures. So I'm excited, not only about the new incarnation of the warehouse ruins near the historic railway complex and the contemporary architecture, but also about the potential for stellar textile-related exhibitions in Georgia.
Fiber Studies are already big at SCAD (the university) and the museum's André Leon Talley Gallery is a prime venue for fashion: on view this summer through September 16 is Looking Back to the Future: Ralph Rucci Evolved. Click here for show details and here for info on the June 28 evening tour with Fashion and Accessory Design chair Carmela Spinelli.
[Installation of Rucci show via SCADMoA.]