By Jenny Lam

Entering the National Gallery of Victoria (NGV), the line for Escher X Nendo was consistently prolonged. The exhibition featured many extraordinary arts of the Dutch Artist M.C Escher. Consisting of many iconic images during the twentieth century, there was an overall of 160 prints and design. Nendo comes from the name of the Japanese Design studio where the work was commended.

Walking around the exhibition there were many designs big and small which captured the eyes of many around. Putting into perspective of the eye, it involved movement to capture the image of the artworks by the designer. Including animations, it was very lively and intriguing, making it playful to the viewers.

This isn’t the first time the NGV has innovated past the standard “white cube” exhibition model. The world has accepted and legitimized new forms of art and the situation where new forms of design are appearing as rapidly as art movement. [4]

Two rooms that stood out for me was the “House in Perspective”. Walking around the first room to see black metal rods, I was quite confused on what I was supposed to see. (Figure 1) Placed in a clutter; it took me awhile to realize that I had to look from a specific angle which then formed a house. (Figure 2) The rods enabled the works to be displayed in a new spatial arrangement rather than simply being mounted on the walls. [1] The way the house motif is developed shows this amazing capacity for subtle change, creating a kind of theater of the object. [3]

Still a part of the House of Perspective, there was a house-shaped corridor which was a catalyst work for their whole design.(Figure 3 & 4) It was one of the main attractions for everyone. Watching people take photos for memories as well as for their social medias, I can say I was also one of them. Walking through, it felt like I was travelling down a rabbit hole like the movie, Alice in Wonderland. Gradually becoming smaller and lower, it became an optical illusion as it was alternating with black and white patterns whilst decreasing in size.

The information provided with the artworks, the exploration of shapes and space were brought along into the design concept. I noticed it was related to maths and psychology which brought me back to my high schools where I learnt those subjects. To the socially recognized hierarchy of the arts, and within each of them, of genres, schools or periods. [2]

The aesthetics all around whilst walking, not many you can fault with just the simple colours of black and white. As the work was about engagement and movement with the audience, Escher and Nendo without a doubt ticked those boxes.

For choosing a favourite between Escher and Nendo, I’d prefer the works of Nendo as his work was more hands on and allowed everyone to have a feel of the design. His work was more engaging towards everyone around which gave me a sense of playfulness.

I would recommend this exhibition to everyone, not only towards the design lovers. Receiving inspiration from the designs, it gives a sense of freedom in what we do alongside creativity.

[1] Escher X Nendo // Between Two Worlds, National Gallery of Victoria; NGV. Accessed 8th April, 2019. https://www.ngv.vic.gov.au/exhibition/escher-x-nendo-between-two-worlds/#themes

[2] Pierre Bourdieu (1984) Distinction: A Social Critique of the Judgement of Taste (WK 5 Reading)

[4] Maxim Boon, The NGV has Entered a New Dimension with its immersive Escher blockbuster; TimeOut. Accessed 8th April, 2019. https://www.timeout.com/melbourne/news/the-ngv-has-entered-a-new-dimension-with-its-immersive-escher-blockbuster-120318 11 April

[3] Victor Margolin (2013) Design Studies: Tasks and Challenges, The Design Journal, 16:4, 400-407 (WK 1 Reading)

By Jenny Lam

Do you remember “The Wizard of Oz”?  Back in 1939 when images weren’t in color but black and white. I guess you didn’t know who designed the costumes for the characters either, don’t worry I didn’t either.

Adrian Adolph Greensburg was an American costume designer who designed the costumes for The Wizard of Oz as well as hundreds of Metro-Goldwyn-Mayer films between 1928 to 1941.(Figure 1) His contributions to the world of fashion went beyond the silver screen. [1]

Designing all the costumes for The Wizard of Oz, “….Adrian was not afraid to test surprising new styles or have a bit of fun with a design. He maintained it would either be fashionable by the time the movie was reviewed or be so unusual that it was exempt from fashion.” [3] (Figure 2)

One design of Adrian’s stood out the most, was the ruby slippers for Dorothy (Judy Garland) in The Wizard of Oz (Figure 3). There were two variations for the shoe design. The first pair was an “Arabian Test Pair” with the curling toes and heels. This didn’t quite suit Dorothy’s farm girl image, so he had to recreate the design which is now worth over $666,000. [2] The details on the shoes consisted of 2,300 sequins. Thinking that Adrian only created one shoe, there was as many as 10 pairs each varying half a size larger.

Dresses he designed was to prove that women didn’t need to have a perfect figure to look good in what they wear. Drawing the attention to the garment itself, it was to assist hiding the body’s imperfections. [6] The designs of the clothing he did was more reflected on his personal interpretation of the skill rather than the historical time. It was appealing to the eye of many as he designed for more than 250 different films.

Being a costume designer, may seem like an easy task to many until you are placed into their shoes. Adrian’s overlooked many of his designs to make sure the dresses seem more dynamic onscreen as he insisted on using the finest materials and workmanship for the final execution. In the world of aesthetic taste, a number of variations and mutually contradictory taste preferences prevail. [4]

Adrian’s influence was noticed by every showroom and store in the company. If trying to figure out who Adrian was, I would say it would be from the classic movie, The Wizard of Oz. The pure intention of the artist is that of a producer who aims to autonomous, this is, entirely the master of his product. [5]

[4] Despina Christoforidou, Elin Olander And Anders Warell (2012) The Design Journal: Good Taste vs. Good Design: A Tug of War in the Light of Bling (WK5 Reading)

[3] Hollis Jenkins Evans,”Adrian” Vintage Fashion Guild, Accessed 11^th April, 2019
https://vintagefashionguild.org/fashion-history/adrian/

[2] New England Historical Society, “Adrian, The Hatmaker’s Son Who Dressed America” Accessed 11^th April 2019 http://www.newenglandhistoricalsociety.com/adrian-hatmakers-son-dressed-america/

[5] Pierre Bourdieu (1984) Distinction: A Social Critique of the Judgement of Taste (WK 5 Reading)

[6] Ruby Lane Social. Adrian Adolph Greenberg – The Man Behind the Curtain – Glamorous Fashion Gown, 2011. Accessed 11^th April 2019 https://www.rubylane.com/blog/categories/vintage-collectibles/adrian-adolph-greenberg-the-man-behind-the-curtain-glamorous-fashion-gowns/ .

[1] Savour Flair “10 Influential Fashion Designers That Time Forgot” Grace Gordon, 2016, Accessed 11^th April 2019https://www.savoirflair.com/fashion/212028/forgotten-influential-fashion-designers