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                                                                              Fall 2012

                                                                              Nomia Fall 2012

                                                                              WORDS & INTERVIEW - LAUREN RUSSO, PHOTOS - KRIS KINGHORN

                                                                              Nomia designer Yara Flinn drew inspiration from the fluorescent light installations of minimalist artist Dan Flavin for her fall 2012 collection. She translated her muse literally and figuratively for her presentation at The Box at Lincoln Center: fluorescent fixtures lit up the runway while Flinn’s clothing contrasted neon brights with dark, muted tones. Staying true to Nomia’s style of tailoring and draping, the collection played bright pops of cobalt and fuchsia against navy, gray, and olive drab. The vibrant colors could be found peeking out from inside the lining of long, tube-like skirts, on shirt collars, and as panels of color on otherwise muted garments. The contrast was also seen in the textures of the fabrics: matte and shine were combined to highlight the contrasts between the two. Black dresses with subtle architectural details, long the friend of the formerly color-shy Flinn, also made an appearance in the line. The ultimate effect of Nomia’s utilization of color and texture was the creation of space; many of the looks gained structure through Flinn’s utilization of color. The result? A smart collection for women who like their clothes with a dash of color and an element of surprise.

                                                                              FutureClaw was able to chat with Nomia design Yara Flinn before her fall 2012 show.

                                                                              LAUREN RUSSO - Who do you see as the Nomia woman? Who are you designing for?

                                                                              YARA FLINN - It’s more about an attitude or a personality. It’s not for a specific age demographic or job description; I’m designing for women that care about art and music more than fashion. I kind of think of it as how a tomboy would dress up, because that’s kind of how I am. The mentality behind it is more about simple silhouettes and details than it is about making huge statements. I also like to make things that last a long time, not only for quality but to be able to wear them as it. I think of my style as feminine minimalism.

                                                                              LR - Where did you draw your inspiration from this season? Was there a specific emotion of idea you wanted to communicate?

                                                                              YF - Yes, which is unusual for me. Well, last season was Georgia O’Keefe, and this season I was really inspired by Dan Flavin. He created these super-commercial, manufactured works, but what I think is striking about it is it’s so simple but it’s the space he created with the fluorescent lights. I tried to do that with my line, using shiny textures, dull textures, vibrant colors and muted colors. It’s all really streamlined with fluorescents.

                                                                              LR - How was your aesthetic developed as a designer from season to season?

                                                                              YF - I definitely think of it as a progression, and not a revolution. I’m constantly building, adding a new word to my vocabulary every season. Last season it was color, and I had previously never worked with prints before. It’s about widening your base and understanding how to utilize your best techniques.

                                                                              LR - What trends from your collection do you see translating across various collections this season?

                                                                              YF - I don’t really like being part of a trend, but it’s hard to avoid that. “Oh, you did sequined dresses? They’re on ten different runways.” It’s more about starting with strong silhouettes and building on them, and thinking about color.

                                                                              LR - How does your background at Oberlin [in Multimedia Studies] play into your process?

                                                                              YF - When I made art, I used fluorescent lights a lot, so this came naturally to me. I think the show aspect is really fun. I worked with sound in school, so I definitely get involved, talk to the sound guy. I didn’t make very polished things back in college. Now, everything I’m making is more finished.