Edwina Hoerl

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NANI KORE? WASISNDES? WHATSTHAT? s/s 07

EVERGREEN (ganz gans/ the sound of music) a/w 06/07

fall winter 2006/2007:
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EVERGREEN
Like on a plying card: lying on artificial grass, shibafu, the lawn, with flowers spread, like a Brahm’s lullaby, covered with roses, crawl under the covers: two women, woman and woman, like we sometimes crawled under the covers as children, feet to the other, feet to head and head to feet, like a fall into emptiness, the hand of God, that arrests all those falls, floating soft, landed, no, carried from this idyllic field: blond are the curls, my Japanese angel...|>>>

text English |>>>
text deutsch |>>>
text Japanese |>>>

FOTOS |>>>

KIMONO NO SODE (the kimono's sleeve) s/s 06

spring summer 2006
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KIMONO NO SODE
long long years ago, there was a very very fair woman. she was so tender and fair that many men of that days wrote to her many love-letters. if she took a walk, men flung their letters into her pocket. at last, she had no...|>>>

text |>>>

FOTOS |>>>

fall winter 2005 2006:

ringel - spiel:

SCHÖN IST SO EIN RINGELSPIEL...

Es dreht sich im Kreis, je schneller, desto schwindelerregender . Reizend und aufreizend zugleich . Alles beginnt zu fliegen. Dreht es sich schnell genug , sieht man nur noch das Rotieren. Was wäre, wenn sich die Spirale so beschleunigen würde, dass das Spiel der Differenzen nicht mehr gespielt werden könnte? Alles wäre gleichzeitig "in" und "out". Könnten wir dann ein neues Spiel beginnen?

photos -> text ->

spring summer 2005: HADAKA NO OOSAMA:

hadaka no oosama
"the emperors new clothes"
spring/ summer 2005

when can one stop painting? in certain asiatic painting traditions
the people who are considered to be master artists (and who can,
as such, perhaps stop painting) are those who are able to
reproduce a traditional sign most consummately, and with
enormous concentration. out of this reduction, and out of this
struggle with traditions, they draw the strength to create new
forms.
when can one stop producing clothes? here, too, the answer
might be: if one has created “perfect clothes” through reduction,
concentration, and a confrontation with tradition . with her
<hadaka no oosama> collection, edwina hörl presents clothes
whose form and colourfulness is so restrained that they leave
their wearers almost naked. one wraps oneself in white, light-grey
or skin-coloured textiles, which are laid around the body in simple
patterns, and and as it were with seemingly invisible seams.

clothes that look like milk-white memories of clothes; clothes that are long, stretched t-shirts and t-shirts that slip over the hips and onto the back. wide jackets that enclose the head and the body like a spacious tent, and soft overalls that give space to the bodycentre.
around the neck hang thick loops in orange-beige and an enormous bag for essential things and for one’s travels. clothes that one has always already experienced, but never like this, never in this way. like the emperor in the fairy-tale the emperor’s new clothes, one can move in them without the person opposite
being certain: is this person dressed? do i see clothes? or do i see something coming towards me that comes from my memory of clothes? is seeing an issue? does it feel like clothes? what am i experiencing? clothes or nakedness? what clothes?
text deutsch -> text japanese -> photos ->

fall winter 2004 2005:

Paisleys by Heimo Wallner (www.hotelpupik.org)

nimen:

Es funktioniert überall, bald rastlos, dann wieder mit Unterbrechungen. Es atmet, wärmt, ißt. Es scheißt, es fickt.
<Gilles Deleuze>

text -> photos ->

spring summer 2004:

YOYOGI-YOGA:

SOMMERKOLLEKTION 2004 YOYOGI-YOGA. EDWINA HÖRL. TOKYO
Achtung – das Y kommt! Annäherung an die unbekannte Größe Y. Sommerfrische von Edwina - mit Motiven der Künstlerin Anna Meyer.
__________________________
Inspirativer Ausgangspunkt: Y wie YOYOGI, Park/Ortsteil in Tokyo /Edwinas Atelier- Adresse. Um Weite zu gewinnen: U wie UNIVERS. So wird alles möglich, was auf der Einladungskarte zur Show zwischen UNI und YO-GI-GA programmatisch permutativ durchgespielt wird.Von YOYO bis GAGA. Der Showroom in Aoyama mit den hängend-schwebenden Textilien erstrahlte in Helligkeit und wurde durch die Mitarbeit von Anna Meyer vollends zur Installation. Eine spirituelle Sommerbrise wehte durch den Raum und die Kleiderschau geriet zur aktionistischen Straßenbegehung.. Schon als Graph ist das Y schön einfach. Wie ein Kimono-Ausschnitt. Wie viele Halsausschnitte bei Edwina. Wie die Stoffgrafiken von Anna, Y+O –Strichfiguren, einem Yukata-Muster ähnlich.
text -> photos ->

fall winter 2003 2004:

classic part II:

photos ->

spring summer 2003:

UFO:

Against the grain of fragmentation and nesting trends the initial idea behind the UFO collection is the monolithic production of clothes. The UFO shirt is made up of a singular cut and sports a drop-shaped cleavage seemingly fused into the Unknown Flying Object.

A circular table cloth with traditional Hungarian patterns at first travelled through time, then through space, in order to arrive at its final destination: Tokyo. In her studio, Edwina Hörl has furnished it with a central hole. Unfurled in table cloth fashion it takes on the shape of a flying saucer. When slipped into, the cloth becomes a swinging skirt.

UFO emerged precisely at the point between landing and take-off, between settling down and lift-off.

Wings on garments and shirts, inserted creases on clothes and skirts make light fare. And the starry sky hangs around the body with tails of dying–down shooting stars floating like magic behind it. photos ->

fall winter 2002 2003:

classic:

Classic, the title of the Autumn/Winter Collection, refers not to the general term for classic fashion, but rather is applied quite individually. Edwina Hörl summons her own classics from earlier collections. New patterns in the collection refer to classics in the historical sense. As patterns, she re-interprets dresses from the 20th century collected at flea-markets, dresses she has long been carrying with her.

The connection between Cuba and Classic is the Cuba-skirt. Edwina Hörl attempted in different ways to develop this skirt. Finally, she found it already existed in her concept piece Half but Big. The appearance of the skirt refers to a photographically documented memory of Cuba. The skirt is then integrated into Classic through the fabric, a traditional Hungarian pattern produced in Japan.
photos ->

spring summer 2002:

half but big project + back numbers:

Half but Big is a special project, started 3 years ago. On a whim, a shirt from the then-current collection was cut in half, and then enlarged 17 times. It can be worn various ways: as a skirt, where one steps into the sleeve and wraps the bodice of the shirt around oneself; or as a cape, where the bodice is draped over the shoulders and the sleeve is pulled over the head and becomes a roll-down collar. In addition, the Half but Big wearer will discover many other ways to wear it.

Since then, different parts of Half but Big have been cut off and used to create wearable pieces for individual collections. A sleeve becomes a dress; the cuff is at the top and becomes a bustiere. And the front body and sleeve seam are the parts where Edwina Hörl found the Cuba-skirt. photos ->

fall winter 2001 2002:

photos ->

spring summer 2001:

cuba:

In the Spring/Summer Collection Cuba, her journey to Cuba plays a key role. The memories of the movements of the women, whether walking or dancing, strongly influence this collection. Fabrics such as molino and flowered cotton jaquard allude to the Cuba feeling. photos ->

fall winter 2000 2001:

The fundamental idea of the collection autumn/winter 2000/2001 is the combination of articles of clothing of most deverse styles, materials and origins. Edwina Hörl replaces the rigid use of fashion and its certain, unshakable conception by a variety of ideas. Material is developed and then sampled, as it is a habit within the music scene already for years, i.e. the existing is mixed and arranged in a different way and thus develops sonething new. Her work approaches that of a DJ, which connects the characteristics of the composer with those of the conductor. The actual interest applies not to the development of a strict silhouette, but the possibility of combining apparently disconnected.

This does not only occur on a formal level, at which materials from traditional costumes in Austria (felt, silk) and Hungary (blue print), designs (checked, dotted, flowerd) and colours (beige, olive, grey, black, violet, pink) are worn together. Also with the development of the collection different levels overlap: there are pieces shaped experimentally by draping, conceptional pieces (Half But Big) or the ones based on a conventional cutting system. Collection sections with visible traditional origins are combined with conceptional pieces. Each section is formulated properly for itself in every detail, the combinations of the users however still add new, unexpected pictures which may turn up in an upcoming collection… photos ->

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