WHY CHANGE AT ALL, A HANDFUL OF DOLLARS CAN BRING RELIEF ON YOUR WAY HOME. IT IS ALL BUT A DREAM, SO BETTER BE PREPARED. WE ARE NOT GOING TO WAIT ANY LONGER, JOHN. FIRST COME FIRST SERVE. 

Somewhere set in unknown territory, south of Vegas, the collection envisions ideas of light. Neons, light beams and reflections on metallics, gold and silver, shape arches and create an overall enlightened architectural structure.

The sun ray pleated skirts, pants and dresses have a laser cut hemline that enables freeform curves and a precise definition of pleating. On the padded bomber jackets the pleats sculpt around the shoulder and spread the reflections rhizomatically.

- a splendid home for a perfect being
folded madness and chill-out posing in a spotless trap
laced in, cat chain curvy days

domestica challenges the idea of perfect homes and their creators.
sharp pleats are unfolded, precisely refolded like luxurious napkins.
a glimpse of artificiality. utopic drape prints shape tromp l’oeil sculpturing.
this spring summer collection is proposing hyperfemininity replacing being
feminine.

pelican avenue is involved in an exhibition and a uniform project at the museum for contemporary art Mu.Zee / Oostend, Belgium. Te kust en te keur is a group show at the museums façade together with artists Caitlin Keogh, Lucile Desamory, Beca Lipscombe and Lucy McKenzie.

The Scottish artist Lucy McKenzie has turned the modernist front of the museum into an exhibition, along with Lucile Desamory, Caitlin Keogh, Beca Lipscombe and pelican avenue.  Using drawings, flags, photos and display cases they have made the façade into a ‘canvas’ on which to conjure up the building’s original purpose - the exhibition and sale of all sorts of goods. This group project combines visual art with adverts, fashion, decorative motifs and window dressing. The cultural context of consumption, visual communication and stimulating desires, decorating and exhibiting all comes together in a total artwork.

31/03 - 30/09/2012  Mu.ZEE Romestraat 11 Oostende, Belgium

In this Te Kust en te Keur pelican avenue presents new uniforms for the museum attendants as well as an abundance of draped fabric covering every floor of the museum. Here, too, as she does in all her work, the designer Carolin Lerch calls into question accepted ideas about fashion and fashion designers in both the uniforms and the fabric installation. Her mistrust of consumption takes her work beyond the borders of the commercial and established. Subtle, extremely detailed and refined she tries to give her clothing and environment a critical, conceptual dimension as a means of taking an alternative look at dominant codes and the context in which her work is shown or worn.
The concept of a contemporary uniform is reconsidered, the obvious codes ousted, which results in a series of elaborate knitwear pieces.

This concentrated collection is available at the Mu.ZEE shop and in selected fashion stores worldwide.

Going to the beach on the oceans garbage pitch, a pacific trash vortex to sunbath, picnic, dive and relax.

the summer 12 collection works with the material you will find on this beach, nylon, rubber, washed out and sun dyed cottons. it is translated into a collection of coasty rainwear and sunglittery beachwear.

town-gown conflict

an exhibithion organized by Lucy McKenzie with:

Verena Dengler, Lucile Desamory, Caitlin Keogh, Pelican Avenue, Beca Lipscombe, Lucy McKenzie, Elizabeth Radcliffe

Museum Bärengasse Kunsthalle Zürich

13. june - 14. august 2011

Bärengasse 20 –22, CH – 8001 Zürich

MO closed

Tue / Wed / Fr  12 m. – 6 p.m. , Thur 12 m. – 8 p.m.

Sa / Sun 11 a.m. – 5 p.m.

The expression «town-gown conf lict» describes centres of conf lict in the

urban life of university cities, in which the campus and students in their

academic garb test the societal balance. The conf licts associated with

the gown-wearers encompass social differences, educational shortfalls,

mechanisms of social differentiation, segregation and the demonstration

of the superiority of the educated classes over the «productive» members

of society. Together with Verena Dengler, Lucile Desamory, Caitlin

Keogh, Beca Lipscombe, pelican avenue and Elizabeth Radcliffe, Scottish

artist Lucy McKenzie (born in Glasgow in 1977, lives and works in

Brussels) brings together artists and fashion designers for the exhibition

«Town-Gown Conf lict», whose drafts and finished works of both art and

so-called applied art explore topics relating to social formatting.

derk thijs & pelican avenue
at Arti Capelli Gallery

16 april - 28 may 2011

opening
sunday 16 april 2011
15-18 h

In den Boerenmouw
5211 NG `s-Hertogenbosch

Info:
Mieke van Schaijk
miekevanschaijk@xs4all.nl

Who is it?

And what’s the Phobia?

Has the (super) ego finally defeat its basement?

Who was it and will we ever catch it?

Itobia is a project by pelican avenue featuring musician Ashtoreth. The live recording of the performance during Paris fashion week beginning of march 2011 will be released on vinyl by end of august 2011. 

Itobia is based on the idea of the unknown beast, the phobia of the it, an undefined but omnipresent and dominant fear in us.

The collection merges different animal elements, wing shapes and reptile textures to receive the threat of utopic creatures.

binding a spell, playing with the future, changing it with one turn of your hand



the collection is based on the idea of string figures, a traditional finger game in different native american and pacific tribes.
the prints are landscapes placed in the same cultural environment but utopic and futuristic, man made,
the general idea is that people have the power to pull strings, to have an impact, to care and do stuff

originally pelican avenue collections aren’t created to be presented by fashion shows. being invited to show during the 10 festival for fashion and photography in vienna, the label sees it as a challenge to interpret a catwalk presentation in its own way. gathering pieces from the two most recent collections approaches the work detached from its conceptual background. it gives a more general overview and focuses on the labels esthetics, prints, shapes and atmosphere, and questions at the same time the idea of momentariness in fashion. live theremin performance by pamelia kurstin and visuals by pelican video.

originally pelican avenue collections aren’t created to be presented by fashion shows. being invited to show during shanghai fashion week 2010, the label sees it as a challenge to interpret a catwalk presentation in its own way. gathering pieces from the two most recent collections approaches the work detached from its conceptual background. it gives a more general overview and focuses on the labels esthetics, prints, shapes and atmosphere, and questions at the same time the idea of momentariness in fashion.

we regard hysteria as the only possible gate
a fashion performance by krõõt juurak and pelican avenue

presented during paris fashion week in march 2010 with a live soundscape by raphael vandeputte

merci to sweatshop paris

kindly supported by
unit- f büro für mode

scene 2 of the hanging garden party - a fashion performance by alex murray-leslie from chicks on speed, kroot juurak and pelican avenue; it is series of scenes taking place in parallel contexts around the world, each location presents a new scene and dialogue between performance art action, fashion, choreography and sound, blurring the lines between these creative fields, with the outcome of a new language of expression. the scenes present audio visual jam sessions, using the tools of choreography and fashion together with technological body instruments and old craft techniques. fashion returning to phantasy and free spirit; a pure expression of creativity; individuals interpreting the set up of a garden party, performing in an interwoven textile architecture detached/free from esthetic expectations, commercial reasoning and categorical thinking. a textile architecture is generating an architecture of sounds.
the second scene was staged in a serene gallery space during tokyo fashion week. in this scene clothes were interwoven in the abstract architecture of fabric. dressing, undressing and playing with them triggered a minimal electronic soundscape under control of sound artist benjamin tomasi. a body wired with sensors linked to letters was used as a human instrument to spread the word.

the hanging garden collection belongs to the hanging garden party - a fashion performance by alex murray-leslie from chicks on speed, kroot juurak and pelican avenue; it is series of scenes taking place in parallel contexts around the world, each location presents a new scene and dialogue between performance art action, fashion, choreography and sound, blurring the lines between these creative fields, with the outcome of a new language of expression. the scenes present audio visual jam sessions, using the tools of choreography and fashion together with technological body instruments and old craft techniques. fashion returning to phantasy and free spirit; a pure expression of creativity; individuals interpreting the set up of a garden party, performing in an interwoven textile architecture detached/free from esthetic expectations, commercial reasoning and categorical thinking. a textile architecture is generating an architecture of sounds.
the first scene of the performance took place on a small street in paris. the installation of fabric was cut, torn apart, triggered noises, a jungle of sounds and fabric ended building a public space for a party; tuned and arranged live by musician merche blasco

the group show skyscraper takes its name from a novel written in the same year that the empire state building opened its doors. the novel is a romance tinged with feminist ambition and an homage to aspirational architecture – motifs that the artists here display a common regard for. chicks on speed, madelon vriesendorp and pelican avenue all share a fantastical approach to design that leads beyond utility towards the articulation of desire and absurdity. far from the earnest pronouncements of 1970s feminism, skyscraper is a joyous declaration of independence from conservatism, logic and category distinction; for the show pelican avenue has made a wall hanging from printed fabric that, while suggesting computer-generated imagery, seems to describe a plan for the fantastical realm of an enchanted forest or a lost city. 4 September - 11 October 2009; Kate McGarry Gallery / London

originally pelican avenue collections aren’t created to be presented by fashion shows. being invited to show during the barcelona 080 festival, the label sees it as a challenge to interpret a catwalk presentation in its own way. gathering pieces from the two most recent collections approaches the work detached from its conceptual background. it gives a more general overview and focuses on the labels esthetics, prints, shapes and atmosphere, and questions at the same time the idea of momentariness in fashion. the show looks were remixed by markus strasser, live snare drum performance by eric thielemans and the visuals were by pelican video.

it is the reaction / counterpart to the previous pelican avenue project calyx. whereas calyx deals with the idea of
an artificial  organic world, intakt is about utopic and surreal architecture.
the video shows human as a negligible part of a powerful machine.

the abstracted video loop shows fragments of an African girl dancing on the rhythm of repetitive music, hypnotic and ecstatic. the video aims to shift the eye of today's fashionable viewer on a feminity that is rare or even missing in contemporary fashion. the prints for the calyx collection pieces are based on the idea of genetical manipulation. what seams a tropical flower print from far is at close look a composition of 3D fantasy objects that only refer to plant shapes.

originally pelican avenue collections aren’t created to be presented by fashion shows. being invited to show during the barcelona 080 festival, the label sees it as a challenge to interpret a catwalk presentation in its own way. gathering pieces from the two most recent collections approaches the work detached from its conceptual background. it gives a more general overview and focuses on the labels esthetics, prints, shapes and atmosphere, and questions at the same time the idea of momentariness in fashion. the show looks were remixed by markus strasser.

the video and the pieces of autumn winter 2008 what was wow are a reworked, reassembled, reblent, reconsidered, recycled, reissued, remixed, rereleased selection of the former presented pelican avenue collections.

drone is the third and last part of the cycle fiction trilogy containing 3 (pelican) videos and their corresponding pelican avenue collections.
after the apocalypse of day-01 and the void of ousted, drone is about the rise of the armies. the video shows brainless clones – marching and dancing repetitively. the collection is a range of large simple  tunics in light weight white cotton jersey and more solid stretch pieces worn like an armour as a second layer. the digital prints on these textile shields show different utopian territories that groups the soldiers into 3 futuristic armies.

originally pelican avenue collections aren’t created to be presented by fashion shows. being invited to show during the 7 festival in vienna, the label sees it as a challenge to interpret a catwalk presentation in its own way. gathering pieces from the two most recent collections approaches the work detached from its conceptual background. it gives a more general overview and focuses on the labels esthetics, prints, shapes and atmosphere, and questions at the same time the idea of momentariness in fashion. the show looks were remixed by markus strasser and the visuals were by pelican video.

as well the collection as the video are part of the cycle fiction trilogy  and sequel to the previous pelican avenue project day-01: the very new beginning after the apocalypse, desolation, pureness, hope…
the flags showing video stills of day-01 could be interpreted as nostalgia, a perspective, but also history repeating,…  

I HOPE WHEN THE WORLD COMES TO AN END I CAN BREATHE A SIGH OF RELIEF BECAUSE THERE IS SO MUCH TO LOOK FORWARD TO (D.D.)  

day-01 is a collection of rain coats and swimwear that was based on the idea of apocalyptic weather circumstances.
the video shows an escaping figure threatened by the abstracted surrounding of catastrophic circumstances.
together with ousted and drone, day-01 forms cycle fiction - a circular trilogy about the rise and fall of a civilization.

power places is about individuals in search of meaning.
to escape from conformity and dispassion people search for a spiritual content, far from functionality and reason. it is easy to see through the visual language that achieves a spiritual effect and that appeals to emotional needs for mysticism. imitating those explicit compositions the power places allegories are invented without any references to existing contents and are therefore fully refillable by any human longings for something to be devoted to.
the video shows the 5 symbols, which were used in the collection and printed on silk scarves.

the project focuses on families and their cultural traditions. in western urban centers people with a variety of ethnical and social backgrounds live close to each other. transformed by mass media and internet, individuality is replaced by a “mass-subject” and traditional structures of human relationships are inevitable changing. whether the family and its entity, as the center of human interactions can bear this development is questionable.
can family structures, determined by tradition and cultural heritage, maintain the function of shaping the character of individuals and sustain a differentiated society? what is the identity of modern families, the values and norms it is creating? does migration and increased social and cultural interaction undermine formerly fixed traditions or does it stimulate the awareness of the individual identity? is there a distinction between families formed by immigration and intercultural exchange on the one hand and a mere homogenous family concept?
for the Erben collection three singular family crests, each integrating the subjective perception of the family’s character were created. they are printed on t-shirts and embroidered on jeans shirts. finally each family is portrayed wearing its crest.
selling these items, the chosen families get kind of a star status and the clothes and posters work as “fan items”.
Erben was firstly presented at “le salon de chicha” during Paris fashion week in october 2005.

the objects of édition dame are restricted to a simple geometric form, the ellipse, which functions more like a decorative accessory, than a specific piece of clothing.
middle-aged Viennese women serve as models for the presentation since their everyday lives and biographies formed the inspiration for the series. they seem strong not only in an intellectual way but also in a sensual one. whe women are filmed in their own living room, surrounded by music of their choice, dressed in their own clothes with the ellipse as single outer element. like this the object serves as a frame for the personality of the women wearing it.
the édition dame videos are created in order to be presented as an audiovisual installation with several monitors spread over an empty space. turning the screens towards the same direction creates a movement and a composed floating image and underlines the differences between the environments.

a series of hand knitted rectangular scarves