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EXPERIMENTS IN DESIGN

Damask for the Masses: Part II

As the second piece in the punk damask series I wanted to pay homage to the mixtape. While audio cassettes have recently had a modest revival with hipsters and record companies for their low-cost in production and their difficulty in conversion to digital format, long gone are the days when people would share mixtapes.

I can remember how much it meant to me to get a mixtape from a friend. You could almost measure the depth of a meaningful friendship by the number of mixtapes that were carefully prepared and shared. The amount of time it would take to fill a 60 or 90 minute tape with carefully curated songs was always appreciated. How close the new music would match your personal preference or challenge your perceptions of music would also indicate how well your friend knew you. Sometimes songs were strategically recorded from the radio when they aired for the first time. Other times it was a collection of new favourites.

Single cassette punk damask unit

Explicit content was all the rage in middle school. It seemed like the parental advisory sticker was less a deterrent than it was a call to action.

Sometimes it was a way of sneaking music into the house that otherwise would have been banned from consumption by juvenile ears. Often purposely mislabeled “Tiffany” or “Wilson Phillips” these tapes would contain the likes of Mudhoney, Soundgarden, Nirvana, Ministry, the Ramones, Public Enemy and Pearl Jam. Explicit content was all the rage in middle school. It seemed like the parental advisory sticker was less a deterrent than it was a call to action. When a favourite band didn’t have the sticker they were said to have “gotten rid of their edge” to placate the PMRC. Looking back it seems as though it was just another form of rebellion that no one paid much attention to.

Full cassette punk damask wallpaper pattern

The mixtapes had a life of their own too. Played in a rogue player they could be warped, chewed and mangled, forever changing the playback and quality. My mixtapes were no strangers to the Canadian winter neither, often suffering from hypothermia and never fully recovering. Seeing as those mixtapes were unique (often the only ones of their kind in existence) they would still be played through the stretched and garbled sections and parts held together with Scotch tape. It meant I had a special version of a song that no one else had.

However, my mixtape collection is no more. I no longer own a cassette player. My love for all kinds of music has remained. But lost are the mixtapes of my youth.

Categories
EXPERIMENTS IN DESIGN

Damask for the Masses: Part I

I have always been intrigued with the ornate patterning of damask. The medieval botanical and whimsical flourishes intricately woven into beautiful infinite patterns are striking even by today’s standards. Damask’s versatility as a reversible fabric with an inverse colour pattern on the other side makes it even more interesting. While damask has a reputation for being ostentatious and overly dramatic, I felt it would be an interesting side project to attempt to blend damask patterning with a “punk/rock” sense of rebellion. A sort of damask for the masses. This first experiment discusses the origins of damask and attempts to blend traditional with the contemporary.

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Damask pattern has traditionally been associated with the wealthy and elite. Originally created in China and traded in the prosperous medieval craft centre of Damascus, the pattern’s namesake, damask became synonymous with the exotic and luxurious. Medieval kings and queens sought to acquire damask tapestries and textiles of their own because of their versatility and attractive design. In fact medieval royals went so far as to get monks to steal artisan secrets and smuggle silkworms to have ways of producing their own unique patterns. Damask textiles have seen a number of resurgences in popularity over the centuries. During the Baroque period, a period which was highlighted by artworks of grandeur and exuberance, damask was used in many different ways–including upholstery, wallpaper, and curtains. However, it was arguably at its peak in popularity during the Industrial Revolution. It was at this time, mass production made what was once considered a rich person’s textile into an affordable textile for the working middle class.

The modern technologies of today have led further towards the democratization of damask by making the pattern even easier to draw and produce. Traditional motifs have been cast aside for whatever patterns catch the eye of the consumer. Furthermore, damask has stepped away from the classic reversible fabric to one-sided prints in some instances. My experiment seeks to further the dialogue on what can be classified as damask through edgier and more “punk/rock” subject material. Not having access to a loom or a weaving mechanism myself (at this point in time) I am hoping to showcase the possible use of modern damask patterns through images and digital mock-ups.

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My first damask pattern in a series of patterns is a damask skull. This is what damask looks like when someone decides to meld traditional flourishes with edgier modern imagery. Skulls have become a bit of cliché in punk and rock so it was important to make sure the skull wasn’t too obvious and that it still contained traditional flourishes seen in older damask patterning. What has been created is something that was once held in such high regard as a luxurious, now given a new life in a different subculture.