A sense of nostalgia and a curiosity for the future. Something out of this world but immediately recognisable and comforting. Driven by the promise of the future and inspired by the triumphs of the past.
Inspired by the retro tones of the 1970’s and the light-hearted whimsy of share house living; Reality Bites, the design inspiration behind the products of July and August, marks a new direction for Crumpler. One that both nods to the heritage of Crumpler and propels the brand forward.
It was Melbourne artist Hilary Faye who was given the task of taking the mood board, colour palette, and season story and bringing it to life, in her own unique way: Collages brought to life using stop-motion animation. And the results are stunning.
Hilary’s style is incredibly hands-on and raw; evoking memories of times gone by when things were done by hand and the world was still a mysterious and wonderful place. Her style sums up the design inspiration perfectly.
We had a chance to sit down with Hilary and ask her to interpret the story behind our latest season of bags. Check out the full interview below.
The thought behind these collages was to show surreal worlds that are full of possibilities. My hope is for people to see the image and momentarily wonder what is taking place in front of them.
Aesthetically I wanted the images to look like they could have been transmitted from the future, yet have an air of nostalgia and a tenderness for items from the past.
When it comes to animating the collages, my approach is to keep it humble and simple. No tricks or digital animation. It’s very transparent how the GIFs are animated just by looking at them. I am simply moving the elements around on the paper and repeating.
I’ve always adored photography and the joy of creating new images. Or creating new worlds, in the context of collage. I’m not bad with the written word, but I’ve always felt more comfortable communicating a feeling or perception with visuals.
This visual intuition led me to study graphic design at university, which I am grateful to have done so I can use these skills to pay my bills. But I always have other projects to work on that bring a different kind of satisfaction - and without the burden of trying to turn it into an income I can live off.
I would say my style is partly the result of using traditional methods. Of course, I am continually making aesthetic decisions but I like to keep the process simple without much digital influence. When it comes to collaging it’s all done by hand, and with photography, I always shoot analogue.
It’s a win-win situation really because the process is more fun this way and the results are totally different to digital. Plus, any less time spent looking at pixels for me is a good thing.
Any artist in Melbourne will probably agree that it’s a nurturing and welcoming city for creative people. I think there’s plenty of opportunities here and a nice sense of community. A lot of my friends are creative so I’m often inspired and motivated by the things they make and do!
During uni, I did a painting elective and my teacher suggested making collages as a way of coming up with a composition to then paint. The collaging process was so enjoyable that I never stopped doing it.
Basically, collaging for me is spending hours sitting on the floor making decision after decision.
It’s both methodical and chaotic. Usually, I arrange my material into four piles; landscapes, people, animals, and objects. Then I start combining images from different piles waiting for that magic moment. I am looking for the perfect combination of colour, scale, and interaction between my cuttings. Sometimes the magic happens quickly, or it can take days. It’s hard to predict. But when I have struck something special I usually know right away. The decisions are intuitive which is why it’s so fun.