Jeniffer Henry (Flock Flock Flock) interview

I managed to get in touch with one of the designers (or artist as she prefers) explored in my research part. I was excited to discover her creations actually were quite often involved in performing arts which will have a great effect on my practical work as I was interested in using cellophane (one of the Jennifer Henry's favourite materials). We also covered some interesting topics such as techniques of creation, aspects of impact, materials cost and her inspirations. Here is our conversation:

1.       As I noticed from your website and profile, you’re working mostly on fashion photo sessions, reviews and charity events. Have you ever designed or thought about designing costumes for theatre or other forms of performing arts?

I’ve currently created more than 300 pieces for a wide variety of purposes, including the performing arts.

Here’s a collection of gowns I made for a performance at The Smith Center with Circus Couture. CC is an annual event that showcases many different performers all to benefit childhood cancer charities. 

Link for full collection: https://www.facebook.com/flockflockflock/media_set?set=a.4510810541717.165229.1634222739&type=3

 I’ve also created a number of pieces for nightclub productions including the ambiance dancers at Hyde Bellagio and Marquee Day/Nightclub at The Cosmopolitan, including Kaskade’s Summer Lovin’ residency at Marquee 2013 .

Full collection from Hyde Bellagio here: https://www.facebook.com/flockflockflock/media_set?set=a.2777507850233.130478.1634222739&type=3

In addition, I’ve created a number of pieces for House of Tribes performing arts group based in Atlanta, GA as well as numerous accessories for performances of The Vagina Monologues and a whole host of outfits for singers, musicians, actors and other live performers.

How applicable are your dresses in an actual performance? Are they tested to sustain different movements and dances and to be worn many times in a longer period (2 weeks or a month for example)?

I create every piece with the intended use in mind. So if a garment must be torn apart (as you can see here in a few of my fashion films  http://vimeo.com/56604326, http://vimeo.com/70751440, http://vimeo.com/album/2184853/video/55474822, http://vimeo.com/64751799, http://vimeo.com/60354799 ) then it comes apart easily and beautifully.

 If it must be made of a delicate material but must also be strong enough to endure a few events/uses then I construct it accordingly (as you can see where with my award winning Charmin Toilet Tissue gown and my Subway Restaurant gowns.

Charmin Toilet Tissue gown

 If a piece must be worn many times and be able to endure the stresses of dynamic movement, then I make it to ensure that my pieces will hold up well under those conditions. For example, each batch of pieces that I made for the nightclub acts lasted 5 weeks, were worn by multiple dancers 4 nights a week.

What technique/s are you using while creating your gown – sewing, gluing or other (if it is not a designer’s secret)?

Almost every design I create only uses double stick Scotch Tape, Office Depot brand heavy duty packing tape and cellophane or tissue paper. Occasionally I’ll use masking tape, duct tape, staples and poster board, foam paper, holiday ornaments and pipe cleaners. Aside from using tulle and satin ribbon as an accent, there is no fabric involved in my designs. And there is absolutely no sewing. Although my art garments are very wearable and made using some principals of traditional fashion design, they are in no way typical clothing. 

What is the average price for the materials for one of your dresses?

After creating more than 300 pieces, there really is no average price. I’ve spent as much as $500 on materials for a single gown and I’ve made pieces from recycled materials that I received for free. Material costs to create the large scale gowns I make are typically more than people expect because a single package of black gift tissue is only $3.99 but to create a gown it takes 100 packages or more. And that doesn’t include the spools of double-stick tape, sewing scissors, fit form or time that it took to complete. 

Cellophane and tape gown

Which aspect of your work do you think has the greatest impact on the observers – the colors, the design itself, the final products or other?

I think the biggest impact comes from the realization that these otherworldly textures, dramatic silhouettes and mystifying movement displayed by my gowns when worn by models originates from very common sources. I’ve taken things that we all know: tissue paper, wrapping cellophane, party supplies, and tape and created something so unrecognizably glamorous it seems hard to believe. Another element that is always shocking to people is how very wearable these outlandish art garments are. Unlike many artists working the genre, if the piece I’ve created is not truly wearable, I don’t consider it a success and so I am always working to make my pieces more comfortable, easier to take on and off while maintaining the intrigue of their unexpected aesthetics.

Would you share some other artists or designers which had inspired you to become a designer?

I wouldn’t consider myself to be a fashion designer but more of an artist who creates wearable sculptures. And in that vein, I wouldn’t say I was inspired by any other creative to do what I do. However, I do appreciate fashion and I am always interested in designers who are creating beautiful pieces. Karl Lagerfeld is perhaps the best example of a designer who has worked hard to create new an exciting designs for a number of high profile fashion houses and although each collection he directs is unique to the brand, it always has a mark od sophistication and whimsy that is identifiably Lagerfeld. Among the many visual artists I admire is Marilyn Minter, most famous for her darkly glamorous video art pieces and photography where she uses her own form and different combinations of materials to make strangely beautiful works.  

References:

Jerry Metellus, 2012.Circus Couture 2012 promotional imagery [digital image]. Facebook Available at: https://www.facebook.com/flockflockflock/media_set?set=a.4510810541717.165229.1634222739&type=3
n.d., 2012.n.d. [digital image]. Facebook. Avalilable at: https://www.facebook.com/flockflockflock/media_set?set=a.2777507850233.130478.1634222739&type=3
Brandon Lundby, 2012.  [digital image]. Facebook. Avalable at: https://www.facebook.com/flockflockflock/media_set?set=a.3784303299490.148342.1634222739&type=3
Brandon Lundby, 2013. [digital image]. Facebook. Available at: https://www.facebook.com/photo.php?fbid=10200780167259894&set=a.10200384857057386.1073741825.1634222739&type=3&theater