Clothing designer Rosetta Getty has teamed up with artist Hayden Dunham, to create an installation in her Tribeca studio space, also incorporating Dunham-inspired elements into into her own Resort 2019 collection. Each season, Getty selects a young female artist to collaborate with in this way. In the recent past these have included acclaimed artists Alicja Kwade and Analia Saban.

Dunham’s work investigates the relationship between the hard and soft architectures of building and body, embodying ideas of transformation and the process of facilitation. By working closely with Dunham, Getty began to record and understand her approach to sculptural processes, which is scientific and methodical. In response to this, Rosetta has created Resort 2019 in much the same way, working with unusual fabrics like laminated water repellent cotton to create a truly unique collection.

Twin contributor Sarah Roberts spoke to both Getty and Dunham about their artistic exchange.

Rosetta

How did the collaboration between you and Hayden come into fruition?

I have been interested in Hayden’s work since first seeing her exhibition at Red Bull Arts in 2016. I later visited Hayden’s studio in LA and was fascinated by all of the different materials she gathers for her work, such as silicone, resin, glass, porcelain, silk, and charcoal. I related to this strongly with my own process as a designer. For Resort 2019, I started searching for the most unique fabrics I could find.

Each season, I work with an artist to create a unique installation reflecting my collection. I asked Hayden if she could create a site-specific installation that would provide context to the clothes, and the process was very organic.

What first drew you to Hayden’s work?

I was drawn to Hayden’s approach of using natural elements and synthetic materials together in her sculptures. I began to think about my own approach for designing clothes, and it felt very much the same. It has encouraged me to further my own exploration of fabrics and I discovered some incredible synthetic materials for this collection.

How is the Resort 2019 collection different from those you’ve created in the past?

Resort 2019 continues our minimalist aesthetic even further, and I have spent a lot of time thinking about the purpose and functionality of every piece. The collection arrives during a time of year when you need an ever-changing wardrobe, so I’m pleased we can offer lots of different options with this collection.

What aspects of the collection are directly inspired by Hayden’s work?

The fabrics, which we developed ourselves, are directly inspired by Hayden’s process of manipulating materials. We found carpet cushioning at a hardware store, which is very industrial, and transferred it to a print on silk georgette and it turned out very soft and elegant.

In the end, it was made into a very subtle cape panel gown, with flowing separates. Another example is the laminated water repellent cotton which we used in the outerwear. The laminated finish on one side and cardboard colour give it an industrial characteristic, but once worn, it’s light, casual and unassuming. The colour palette is also very much directly inspired by Hayden’s work; soft tones of peach, meadow, shell, and sky.

How do you and Hayden similarly approach sustainability?

We both feel strongly about the responsibility of putting things into the world as creators. My team continues speaking every season with our fabric mills and looking into their practices, discussing the impact on human health and the environment. I’m glad to see that most of the mills we work with use sustainable methods to produce their textiles.

Hayden

How do you use sculpture to investigate the relationship between the architecture of the human body, and the chemical matter with which it interacts?

There is a very clear relationship between material bodies and human bodies. We are in a constant dialog with the environments we live inside. This conversation is reflected physically through the materials present in our bodies.

How does this installation depart from, or tie into, your previous work?

I am obsessed with water and structures that support water. Specifically, large-scale circulation systems that move bodies of liquid around. Human bodies are one of these systems. A fountain is another structure that hosts these exchanges.

When I visited Rosetta in Siena, she pointed out the fountain in the piazza, which is a gathering spot for the community. The water has a very special and specific mineral composition and feeling to it.

What drew you to Rosetta’s work?

There is this deep calmness and clarity in Rosetta’s presence, and she is both grounded and expansive. I see her work and process as an extension of this energy. I am also really impressed with her team and the level of intentionality and thoughtfulness in their practice.

What challenges did you face while creating this installation?

The presence of these pieces is so expansive and wild that they wanted to be incorporated into every system inside the space. They were particularly tempted to go inside the floors and electrical outlets. My role in the install was making boundaries with the work, which is constantly expanding and contracting. For me, the garments operate in a similar way. They are containers, and they provide a boundary to be held by.

Tags: Fashion