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| Foto: F. Braiten |
ROSA
BURGER 2001
>
Assistant
of fashion stylist HELMUT LANG in Paris / Milan / Vienna > cooperation
for collections women, men, traditional costume in the field of >materials
> fabric
development >color
conception > research > design > image definition and styling for fashion
shows in Paris.
Studies
of science of drama-, film- and media, as well as journalism and science
of communication, University of Vienna.
> FILM
COSTUME - WOMEN IN FILM NOIR, 1993 (Thesis)
> FILM
COSTUME - MODERN FEMME FATALE, GOOD / BAD GIRL, INDEPENDENT / ACTION
HEROINE, 2001 (Doctorial thesis)
> Editress
of fashion magazine DIVA, R & D publisher > > free journalist in the
field of fashion for the newspaper DIE PRESSE and others > > editress
of Austrian Television - ORF > > fashion text for online-presentation:
INTERFASHION AUSTRIA > > editress of online magazine www.fashion.at/film.
What
is the fascination of the fashion line?
The fact that somebody who has no particular training, an autodidact
like HELMUT LANG has determined the fashion since the 1990ies. In my
opinion it' s impossible to learn creating of fashion. You feel fashion,
you don't learn it! It' s about an intuitive comprehension of still
inarticulate trends and a formulation of atmospheres and influences
brought over from music, street fashion, contemporary art and others
- Avant-garde.
Why
are you interested in the fashion of the movies?
Fashion is an integral part of society, one of the numerous forms of
communication in everyday life. In films, too, the language of fashion
is used specifically, a dress code is established for both the glamorous
diva and the insignificant gangster moll. The costume label 'worn by
the stars' from the Golden Age of the Hollywood dream factory has faded.
In the past years other interesting developments in costume design have
taken place. Fashion stylists like Calvin Klein, Jean Paul Gaultier,
Giorgio Armani, and others turned the cinema screen into a catwalk and
gave a fresh impetus towards the relationship of film and fashion.
When
did you get in contact with fashion for the first time?
I have already created clothing as a child, but never realized them,
unlike my Barbie, she looked always very current in her self-stitched
dresses. At the age of six, I refused my mother's clothing combinations.
Since I am able to think, I am conscious of clothing. About twenty I
met HELMUT LANG, the one who is well known for his uncompromising attitude
towards fashion. He teached me all fashion is really about.
Which
criteria do influence the selection of your personal clothing?
Purism, modernity and portability. Usually I combine designer pieces
with adapted ones to a personal style of fashion. All under the motto:
it' s hell to be overdressed. You could say I favour fashionable outfits
for a 'second sight'.
What
is your favorite color? What's your favorite material?
In
addition to black, I like beige and powder pink. Beside that fluid transparency
is important. The tension resulting from the combination of traditional
fabrics like jersey, leather or cashmere with modern hi-tech materials
exits me as well.
Who
is your favorite fashion stylist?
To seize the opportunity of individual interpretation it's easier to
have several favorite couturiers. I prefer outfits consisting of selected
pieces by HELMUT LANG, PRADA, Hennes & Mauritz, and second hand pieces
- a feeling of modernity without being a victim of fashion.
How
will it go on in the fashion line?
There are no indications of structural modifications in the fashion
line. The system stylist - producer - marketing - customer has been
steady during the economical recession as well as during the decreasing
trend to super-expensive designer clothes. Even if more low priced and
trendy ready-to-wear collections push onto the international market,
the stylist - I mean the creative potential of the couturier - will
continue to be an absolute guarantor for fashion itself. Concerning
current trends of fashion, innovation seems to be rare. Variations and
refinements of topics, like transparency and the 1970ies, last for several
seasons, and are worked out by stylists of the avant-garde as well as
by the 'classical' ones.
How
could the Austrian Textile Economy get a more important position in
the fashion world?
Unfortunately, Vienna is not a center of fashion like New York,
Paris, Milan or London, that's a fact one must admit. Young Austrian
stylists have to present their collections, where fashion really happens.
Therefore comprehensive single promotion (e.g. sponsorship by Austrian
companies) is necessary - Austrian Textile Economy for Austrian stylists!
How
do you like the Fashion Navigator?
A medium, in order to be able to react spontaneously to latest trends,
very good.
Thank you
very much for the interview!
Currently
to read in www.fashion.at/film
by Rosa Burger
ROSA BURGER
e-mail: film@fashion.at
Herrengasse 8, 1010 Vienna, Austria
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