A couple of the fabrics are even in sync with the time period of the film-- the woven beige cotton was the curtains from our 1960's patio home, the green plaid was my dad's shirt from the same time period.
This is my dad in 1959 with my two oldest sisters here in central Texas.
The raw silk is cut from a tunic top my sister made for herself in the late 1980's- early 90's, a Claude Montana design. The fabric is breaking down from age and it causes me pain to cut up her hard work, but once the material is backed with fusible inner facing it's usable again, so why not?
Here are the edge strips trimmed from the pillow cover and sewn together to create a new textile.
The process of framing and trimming is self-generative.
Monica Vitti in a still from Michelangelo Antonioni's film The Red Desert (Il Deserto Rosso), 1964.
The blocks of color, lines, and fabrics in this photo inspired the pillow design.
Fabrics used include my grandfather's woolen long johns-- ca. 1960 or earlier-- with his last name, Hermes, handwritten on waistband; 1970's corduroy Levis; red cotton batik remnants from the lapel of the poppy robe I designed and made . Other scraps include digital print silk I made into a scarf, an orange cotton print sample brought from India years ago by the husband of a friend of mine, 1980's curtain fabric from my sister, and red plaid silk upholstery sample.
The random sizes and shapes of the scraps form the basis of the composition.
A few weeks ago I stitched together pieces of the Levis to make a pigment sheet with no idea how I would use it; the irregular piecing and layers reminded me of Serge Poliakoff 's paintings, which I love:
The first mock-up was a series of mostly vertical lines, much like the film photo.
The texture and color of Monica Vitti's sweater made me think to add in my grandfather's woolen long johns-- the triangular shape of the waistband shifted the composition, broke up the grid.
The manufacturer's label and my grandmother's handwriting inside were a surprise that begged to be exposed.
I was thinking of Hans Hoffman 's early to mid-1960's color block paintings, which he was doing at the same time Antonioni was making this film. In the photo below, you can see how art of the period was influencing film set design, in the use of blocks of color, and even the attention to the paint-- the unevenness of the layers, and the texture of it peeling away from the surfaces.
Here'sTillycatdoing her best Monica Vitti impersonation.