Prune Delon
Fashion Design BA
Institut Français de la Mode IFM
Graduates: 2023
Specialisms: Womenswear / Textiles - Knit / Textiles - Print
My location: Paris, France
Prune Delon
First Name: Prune
Last Name: Delon
University / College: Institut Français de la Mode IFM
Course / Program: Fashion Design BA
Graduates: 2023
Specialisms: Womenswear / Textiles - Knit / Textiles - Print
My Location: Paris, France
About
Originally from Strasbourg, I was lucky enough to attend an IFM Summer School on Fashion and Luxury at the end of my year at high school, and I immediately knew that this was where I wanted to focus my studies. It was at this same school, thanks to their scholarship programme, that I was able to begin this fascinating apprenticeship, from both a creative and technical point of view.
What inhabits me, nourishes me and characterises me? Above all, I like to find a balance of colours, to push my cuts and meticulousness to the limit, whether by hand or machine. I'm also said to be playful and conscientious, and I'd add that I'm in tune with sustainable fashion that has a positive impact on the planet, and I'm not afraid to take the initiative to accomplish a project or a mission.
Drawing is also a fundamental basis for my work, enabling me to refine my ideas and my approach.
I also nourish my eye and my mind by consulting art books, going on flea markets, visiting exhibitions and asking myself questions about beauty, a notion that always marks out my reflections. My references are many and nourishing:From a Japanese 'Mino' peasant raincoat to a film by Jean-Luc Godard, from the Surrealist movement to the Brutalists, from Charlotte Perriand to Miriam Cahn, from Yves Klein's anthropometry to Stephen Doherty's flowers, from the conceptual research of Rei Kawakubo or Hussein Chalayan to the elegance of a Fortuni pleat to the colourimetric vision of Vivianne Sassen or that of Irving Penn in black and white.I'm well aware of the importance of 'dressing up' your thoughts before you can design clothes that are meaningful and beautiful.
Like a bowl of ice cream dripping with pictorial evocations and childhood memories, at the living crossroads of the spacetime that coordinates all existence. This collection is built on the creation of a pictorial language of its own and an intimate, visceral wardrobe. One nourishing the other. And vice versa. An eagerness to liberate color, symbolized by jelly-like hues and bucolic greens. But also a (human) figure with childlike outlines and a fluid identity, shaggy or vibrant, whimsical or tactile, surreal and palpable. A youthful, heady face, sometimes reflected on an oversized bag or necklace. And in the choice of models with Pre-Raphaelite beauty, encircled by red hair and shining like an aura, or with others, haloed by short bleached hair and poetic androgyny. By accepting to let go and deliberately provoking a mise en abîme of the pictorial work, the act of immediacy of painting became intrinsically linked to the longer, more repetitive act of sewing, notably in a process of hand-made decorative gathers. The paintings that had become print were then digitally enlarged to their original scale after pleating the fabric, like a painter working from an enlarged photo. The resulting cut and material were then twisted onto the model's own body. The painted motif was also translated into mohair knitwear, for its ability to produce excessive volume and retranscribe the subtle nuances and brushstrokes of the original paintings. Then the final pictorial intervention, a fresco centralized the various visual elements of the paintings. A painting to wear, embodied by too long or too short tubes skirts.
Competitions
