Timeless, 90,180,270,360: An Interview with Film Director Sangwha Yim
Culture — 11.04.17
Inspired by the idea of timelessness and transcendence of the temporal, fashion film director Sangwha Yim employs the idea of the ticking clock measuring seconds, minutes, and hours.
Her model, turning in time visualises the curves of the garments, part of MA Fashion graduate from Central Saint Martins, Renata Estefan. Inspired by Viktor&Rolf’s 1999 couture show, this multi-angle visualisation of the creative spirit creates a 3-D vision of misplaced images.
Like a modernistic puzzle showing her raw aesthetical vision, her masterpiece is the body, twisting and gradually disappearing in the longevity of time.
How did you come up with the mood?
This project is not only just in collaboration with the MA Fashion graduate from Central Saint Martins, Renata Estefan is working in collaboration with other students. It felt inspiring working with the designer’s portfolio and references. I picked up the keywords from the interviews with the designer and came up with my concept which consists in Proportion, Bauhaus, Perfection, Perfect Curve, misplacement and Timelessness. Renata said she wants to design “Timeless” pieces, so that’s my interpretation of her clothes.
What is timeless for you?
I think timeless translates into something classic. Classic represents “Timeless”. Classic is not dominated by time. Classic exists everywhere and every time and lives in people’s memory. In the era of technology, there is always nostalgia as an analogue of classical.
The sub-title “90180270360” refers to the angle of the watch. The flow of the film represents a sequential change in angle. (Showing the rotation of the model with up-to-down angle changing from 90 degrees to 180 degrees, 270 degrees and 360 degrees).
How would you describe your style?
My personal style is translating 3D image to 2D image. It means that, after capturing a moving object (3D image), I want to make a final piece, a 2D image that gives the audience a flat feeling that is not stereoscopic. I am focusing on people’s emotions; I tried to make the sounds touching.
What are your references?
I do not think there is more beautiful fashion than seeing garments on the human body. In other words, I think that the basis of fashion is the beautiful body of people, and that is my starting point, and that is my notion of fashion. This personal tendency naturally led to an interest in performance art, particularly the 1960s to 1980s. Among my favourite artists are Rebecca Horn and Joan Jonas.
At the same time, my biggest reference is “emotion”: my experience, my feelings and the feelings and experiences of the collaborator. Moving image is giving me a window to solve my feelings. I feel that each individual experience and emotions are the most special and unique source for art and fashion. I want to express the abstract image of such feelings through the comprehensive art of film.
What’s next for you?
Currently, I am in charge of interior art directing. I am working on a project linked to my work utilising space through design. That is my new challenge, and I’m exploring new ways to broaden my spectrum. I will continue to work on moving images in the process of my course at CSM, which is Fashion Communication and Promotion. I’m planning on collaborating with psychologists and philosophers.
At the same time, I haven’t given up the idea of designing. Multi-display artist, that’s my next and final goal. I will do exploring through my whole life.