maria gil ulldemolins

1950-2010 (2010) On the left, a vintage bra from the 1950s. On the right, an H&M piece from 2010. Embroidered on the vintage garment, a text from the Sección Femenina (Franco’s female group) pieces of advice to young women: “Get ready, retouch your make-up, place a ribbon on your hair, make yourself a little bit more interesting for him. His hard day at work may need a bit of cheering up, and it is your duty to provide it for him”. On the modern corset, a paragraph from a spring 2010 issue of the Spanish edition of Elle magazine: “If you look for it, you can find those comfy pants that at the same time show off your figure, that comfortable top with sexy transparencies that will make your boy go mad, without refusing your desire to relax. If you want love to last forever and ever, think about investing in lounge wear before wearing your old sweatsuit.”1950-2010 (2010) On the left, a vintage bra from the 1950s. On the right, an H&M piece from 2010. Embroidered on the vintage garment, a text from the Sección Femenina (Franco’s female group) pieces of advice to young women: “Get ready, retouch your make-up, place a ribbon on your hair, make yourself a little bit more interesting for him. His hard day at work may need a bit of cheering up, and it is your duty to provide it for him”. On the modern corset, a paragraph from a spring 2010 issue of the Spanish edition of Elle magazine: “If you look for it, you can find those comfy pants that at the same time show off your figure, that comfortable top with sexy transparencies that will make your boy go mad, without refusing your desire to relax. If you want love to last forever and ever, think about investing in lounge wear before wearing your old sweatsuit.”1950-2010 (2010) On the left, a vintage bra from the 1950s. On the right, an H&M piece from 2010. Embroidered on the vintage garment, a text from the Sección Femenina (Franco’s female group) pieces of advice to young women: “Get ready, retouch your make-up, place a ribbon on your hair, make yourself a little bit more interesting for him. His hard day at work may need a bit of cheering up, and it is your duty to provide it for him”. On the modern corset, a paragraph from a spring 2010 issue of the Spanish edition of Elle magazine: “If you look for it, you can find those comfy pants that at the same time show off your figure, that comfortable top with sexy transparencies that will make your boy go mad, without refusing your desire to relax. If you want love to last forever and ever, think about investing in lounge wear before wearing your old sweatsuit.”

1950-2010 (2010)

On the left, a vintage bra from the 1950s. On the right, an H&M piece from 2010. Embroidered on the vintage garment, a text from the Sección Femenina (Franco’s female group) pieces of advice to young women:
“Get ready, retouch your make-up, place a ribbon on your hair, make yourself a little bit more interesting for him. His hard day at work may need a bit of cheering up, and it is your duty to provide it for him”.
On the modern corset, a paragraph from a spring 2010 issue of the Spanish edition of Elle magazine:
“If you look for it, you can find those comfy pants that at the same time show off your figure, that comfortable top with sexy transparencies that will make your boy go mad, without refusing your desire to relax. If you want love to last forever and ever, think about investing in lounge wear before wearing your old sweatsuit.”

Posted 3 months ago
Man, I Feel Like a Woman (2010) By making this project I wanted to explore the world of femininity. The stereotypes, the archetypes, the expectations, the duties, the labour, the resilience, the beauty, the weight of tradition. I also wanted to work in a way many women before me have done. I have used a lenghty process, drawing the checkered base unto the doll, microperforating the hardest pieces and the cross stitching an old floral pattern.Man, I Feel Like a Woman (2010) By making this project I wanted to explore the world of femininity. The stereotypes, the archetypes, the expectations, the duties, the labour, the resilience, the beauty, the weight of tradition. I also wanted to work in a way many women before me have done. I have used a lenghty process, drawing the checkered base unto the doll, microperforating the hardest pieces and the cross stitching an old floral pattern.Man, I Feel Like a Woman (2010) By making this project I wanted to explore the world of femininity. The stereotypes, the archetypes, the expectations, the duties, the labour, the resilience, the beauty, the weight of tradition. I also wanted to work in a way many women before me have done. I have used a lenghty process, drawing the checkered base unto the doll, microperforating the hardest pieces and the cross stitching an old floral pattern.Man, I Feel Like a Woman (2010) By making this project I wanted to explore the world of femininity. The stereotypes, the archetypes, the expectations, the duties, the labour, the resilience, the beauty, the weight of tradition. I also wanted to work in a way many women before me have done. I have used a lenghty process, drawing the checkered base unto the doll, microperforating the hardest pieces and the cross stitching an old floral pattern.Man, I Feel Like a Woman (2010) By making this project I wanted to explore the world of femininity. The stereotypes, the archetypes, the expectations, the duties, the labour, the resilience, the beauty, the weight of tradition. I also wanted to work in a way many women before me have done. I have used a lenghty process, drawing the checkered base unto the doll, microperforating the hardest pieces and the cross stitching an old floral pattern.

Man, I Feel Like a Woman (2010)

By making this project I wanted to explore the world of femininity. The stereotypes, the archetypes, the expectations, the duties, the labour, the resilience, the beauty, the weight of tradition.

I also wanted to work in a way many women before me have done. I have used a lenghty process, drawing the checkered base unto the doll, microperforating the hardest pieces and the cross stitching an old floral pattern.

Posted 3 months ago
Aesthetics Voodoo Doll (2010) When you make a vodoo doll you need something that belongs to the person you want to inflict the spell to. What if you take your own hair? Then you are going to be witch and bewitched at the same time. And what about what you wish for? Since you are doing this to yourself, what about amazingly long legs, or incredible blue eyes? Is beauty somehow painful? Is it imposed on us? To make this doll I brushed and kept my own hair for weeks as a ritual. I then made the doll with red (traditionally symbolizing life, blood, power) thread and needles (sewing needles, which also link into what being female means). I then pinned cut-outs from Fashion magazines.Aesthetics Voodoo Doll (2010) When you make a vodoo doll you need something that belongs to the person you want to inflict the spell to. What if you take your own hair? Then you are going to be witch and bewitched at the same time. And what about what you wish for? Since you are doing this to yourself, what about amazingly long legs, or incredible blue eyes? Is beauty somehow painful? Is it imposed on us? To make this doll I brushed and kept my own hair for weeks as a ritual. I then made the doll with red (traditionally symbolizing life, blood, power) thread and needles (sewing needles, which also link into what being female means). I then pinned cut-outs from Fashion magazines.Aesthetics Voodoo Doll (2010) When you make a vodoo doll you need something that belongs to the person you want to inflict the spell to. What if you take your own hair? Then you are going to be witch and bewitched at the same time. And what about what you wish for? Since you are doing this to yourself, what about amazingly long legs, or incredible blue eyes? Is beauty somehow painful? Is it imposed on us? To make this doll I brushed and kept my own hair for weeks as a ritual. I then made the doll with red (traditionally symbolizing life, blood, power) thread and needles (sewing needles, which also link into what being female means). I then pinned cut-outs from Fashion magazines.Aesthetics Voodoo Doll (2010) When you make a vodoo doll you need something that belongs to the person you want to inflict the spell to. What if you take your own hair? Then you are going to be witch and bewitched at the same time. And what about what you wish for? Since you are doing this to yourself, what about amazingly long legs, or incredible blue eyes? Is beauty somehow painful? Is it imposed on us? To make this doll I brushed and kept my own hair for weeks as a ritual. I then made the doll with red (traditionally symbolizing life, blood, power) thread and needles (sewing needles, which also link into what being female means). I then pinned cut-outs from Fashion magazines.

Aesthetics Voodoo Doll (2010)

When you make a vodoo doll you need something that belongs to the person you want to inflict the spell to. What if you take your own hair? Then you are going to be witch and bewitched at the same time. And what about what you wish for? Since you are doing this to yourself, what about amazingly long legs, or incredible blue eyes? Is beauty somehow painful? Is it imposed on us?

To make this doll I brushed and kept my own hair for weeks as a ritual. I then made the doll with red (traditionally symbolizing life, blood, power) thread and needles (sewing needles, which also link into what being female means). I then pinned cut-outs from Fashion magazines.

Posted 3 months ago
PaperBling (2009) PaperBling is awesome jewellery made with upcycled paper (mostly from Elle, Elle Decor, Weekend Guardian magazine, Icon, Vogue, EPS). Each little piece is cut by hand and domestically plastified (the same type of plastic foil you use for school books). Each work is totally unique. Deconstruct the images goven to you and construct something else with them. You can see an article on these at Hand/Eye Magazine.PaperBling (2009) PaperBling is awesome jewellery made with upcycled paper (mostly from Elle, Elle Decor, Weekend Guardian magazine, Icon, Vogue, EPS). Each little piece is cut by hand and domestically plastified (the same type of plastic foil you use for school books). Each work is totally unique. Deconstruct the images goven to you and construct something else with them. You can see an article on these at Hand/Eye Magazine.PaperBling (2009) PaperBling is awesome jewellery made with upcycled paper (mostly from Elle, Elle Decor, Weekend Guardian magazine, Icon, Vogue, EPS). Each little piece is cut by hand and domestically plastified (the same type of plastic foil you use for school books). Each work is totally unique. Deconstruct the images goven to you and construct something else with them. You can see an article on these at Hand/Eye Magazine.PaperBling (2009) PaperBling is awesome jewellery made with upcycled paper (mostly from Elle, Elle Decor, Weekend Guardian magazine, Icon, Vogue, EPS). Each little piece is cut by hand and domestically plastified (the same type of plastic foil you use for school books). Each work is totally unique. Deconstruct the images goven to you and construct something else with them. You can see an article on these at Hand/Eye Magazine.PaperBling (2009) PaperBling is awesome jewellery made with upcycled paper (mostly from Elle, Elle Decor, Weekend Guardian magazine, Icon, Vogue, EPS). Each little piece is cut by hand and domestically plastified (the same type of plastic foil you use for school books). Each work is totally unique. Deconstruct the images goven to you and construct something else with them. You can see an article on these at Hand/Eye Magazine.PaperBling (2009) PaperBling is awesome jewellery made with upcycled paper (mostly from Elle, Elle Decor, Weekend Guardian magazine, Icon, Vogue, EPS). Each little piece is cut by hand and domestically plastified (the same type of plastic foil you use for school books). Each work is totally unique. Deconstruct the images goven to you and construct something else with them. You can see an article on these at Hand/Eye Magazine.

PaperBling (2009)

PaperBling is awesome jewellery made with upcycled paper (mostly from Elle, Elle Decor, Weekend Guardian magazine, Icon, Vogue, EPS). Each little piece is cut by hand and domestically plastified (the same type of plastic foil you use for school books). Each work is totally unique.

Deconstruct the images goven to you and construct something else with them.

You can see an article on these at Hand/Eye Magazine.

Posted 3 months ago
Bloom Stool (2008) What is craft in the 21st century? How does design merge wit craft? How can a “vulgar” material acquire value? The Bloom Stool was designed for Liberty of London. It plays with laser cutting hand-drawn patterns (perfect vs. imperfect, hand-drawn patterns were scanned and then laser-cut to provide an even but irregular pattern). Given that one day plastic will possibly not be available anymore, the Bloom Stool foresees a future added value: in the 22th century, plastic objects will be treasured.Bloom Stool (2008) What is craft in the 21st century? How does design merge wit craft? How can a “vulgar” material acquire value? The Bloom Stool was designed for Liberty of London. It plays with laser cutting hand-drawn patterns (perfect vs. imperfect, hand-drawn patterns were scanned and then laser-cut to provide an even but irregular pattern). Given that one day plastic will possibly not be available anymore, the Bloom Stool foresees a future added value: in the 22th century, plastic objects will be treasured.Bloom Stool (2008) What is craft in the 21st century? How does design merge wit craft? How can a “vulgar” material acquire value? The Bloom Stool was designed for Liberty of London. It plays with laser cutting hand-drawn patterns (perfect vs. imperfect, hand-drawn patterns were scanned and then laser-cut to provide an even but irregular pattern). Given that one day plastic will possibly not be available anymore, the Bloom Stool foresees a future added value: in the 22th century, plastic objects will be treasured.Bloom Stool (2008) What is craft in the 21st century? How does design merge wit craft? How can a “vulgar” material acquire value? The Bloom Stool was designed for Liberty of London. It plays with laser cutting hand-drawn patterns (perfect vs. imperfect, hand-drawn patterns were scanned and then laser-cut to provide an even but irregular pattern). Given that one day plastic will possibly not be available anymore, the Bloom Stool foresees a future added value: in the 22th century, plastic objects will be treasured.

Bloom Stool (2008)

What is craft in the 21st century?
How does design merge wit craft?
How can a “vulgar” material acquire value?

The Bloom Stool was designed for Liberty of London. It plays with laser cutting hand-drawn patterns (perfect vs. imperfect, hand-drawn patterns were scanned and then laser-cut to provide an even but irregular pattern). Given that one day plastic will possibly not be available anymore, the Bloom Stool foresees a future added value: in the 22th century, plastic objects will be treasured.

Posted 3 months ago
Lucky Candles (2007-08) These “modular” candles are a result of an investigation for my final project into superstition and rituals. The are playful little things: you can add their “legs” up to result into your age (3+4+10+5=22), or juxtapose them to represent it (2 next to 2). You can also have them upside down so that they have as many flames as years; or the other way round, so that you have less flames and therefore you have an easier wish. These have been exhibited during London’s Design Week ‘08 at DesignersBlock, by invitation from the Kith Kin guys.Lucky Candles (2007-08) These “modular” candles are a result of an investigation for my final project into superstition and rituals. The are playful little things: you can add their “legs” up to result into your age (3+4+10+5=22), or juxtapose them to represent it (2 next to 2). You can also have them upside down so that they have as many flames as years; or the other way round, so that you have less flames and therefore you have an easier wish. These have been exhibited during London’s Design Week ‘08 at DesignersBlock, by invitation from the Kith Kin guys.Lucky Candles (2007-08) These “modular” candles are a result of an investigation for my final project into superstition and rituals. The are playful little things: you can add their “legs” up to result into your age (3+4+10+5=22), or juxtapose them to represent it (2 next to 2). You can also have them upside down so that they have as many flames as years; or the other way round, so that you have less flames and therefore you have an easier wish. These have been exhibited during London’s Design Week ‘08 at DesignersBlock, by invitation from the Kith Kin guys.Lucky Candles (2007-08) These “modular” candles are a result of an investigation for my final project into superstition and rituals. The are playful little things: you can add their “legs” up to result into your age (3+4+10+5=22), or juxtapose them to represent it (2 next to 2). You can also have them upside down so that they have as many flames as years; or the other way round, so that you have less flames and therefore you have an easier wish. These have been exhibited during London’s Design Week ‘08 at DesignersBlock, by invitation from the Kith Kin guys.Lucky Candles (2007-08) These “modular” candles are a result of an investigation for my final project into superstition and rituals. The are playful little things: you can add their “legs” up to result into your age (3+4+10+5=22), or juxtapose them to represent it (2 next to 2). You can also have them upside down so that they have as many flames as years; or the other way round, so that you have less flames and therefore you have an easier wish. These have been exhibited during London’s Design Week ‘08 at DesignersBlock, by invitation from the Kith Kin guys.

Lucky Candles (2007-08)

These “modular” candles are a result of an investigation for my final project into superstition and rituals. The are playful little things: you can add their “legs” up to result into your age (3+4+10+5=22), or juxtapose them to represent it (2 next to 2). You can also have them upside down so that they have as many flames as years; or the other way round, so that you have less flames and therefore you have an easier wish.
These have been exhibited during London’s Design Week ‘08 at DesignersBlock, by invitation from the Kith Kin guys.

Posted 3 months ago
Wishing on Eyelashes (2007-08) As part of my final project I investigated human rituals. I researched superstitions and one that I found to be common but rather poetical was to “wish on an eyelash” by blowing it off your finger. If an eye lash can potentially provide you with anything you want, they are a currency of sorts. Therefore, they are valuable, very valuable even. As coveted elements, you must try to preserve them. I designed a set that included eyelash-catching glasses, matching tweezers to pick the saved eyelashes and a storage system. You then had portable jewellery so that you could always have a fallen eyelash in case of emergency or give them as gifts for your loved ones.Wishing on Eyelashes (2007-08) As part of my final project I investigated human rituals. I researched superstitions and one that I found to be common but rather poetical was to “wish on an eyelash” by blowing it off your finger. If an eye lash can potentially provide you with anything you want, they are a currency of sorts. Therefore, they are valuable, very valuable even. As coveted elements, you must try to preserve them. I designed a set that included eyelash-catching glasses, matching tweezers to pick the saved eyelashes and a storage system. You then had portable jewellery so that you could always have a fallen eyelash in case of emergency or give them as gifts for your loved ones.Wishing on Eyelashes (2007-08) As part of my final project I investigated human rituals. I researched superstitions and one that I found to be common but rather poetical was to “wish on an eyelash” by blowing it off your finger. If an eye lash can potentially provide you with anything you want, they are a currency of sorts. Therefore, they are valuable, very valuable even. As coveted elements, you must try to preserve them. I designed a set that included eyelash-catching glasses, matching tweezers to pick the saved eyelashes and a storage system. You then had portable jewellery so that you could always have a fallen eyelash in case of emergency or give them as gifts for your loved ones.Wishing on Eyelashes (2007-08) As part of my final project I investigated human rituals. I researched superstitions and one that I found to be common but rather poetical was to “wish on an eyelash” by blowing it off your finger. If an eye lash can potentially provide you with anything you want, they are a currency of sorts. Therefore, they are valuable, very valuable even. As coveted elements, you must try to preserve them. I designed a set that included eyelash-catching glasses, matching tweezers to pick the saved eyelashes and a storage system. You then had portable jewellery so that you could always have a fallen eyelash in case of emergency or give them as gifts for your loved ones.Wishing on Eyelashes (2007-08) As part of my final project I investigated human rituals. I researched superstitions and one that I found to be common but rather poetical was to “wish on an eyelash” by blowing it off your finger. If an eye lash can potentially provide you with anything you want, they are a currency of sorts. Therefore, they are valuable, very valuable even. As coveted elements, you must try to preserve them. I designed a set that included eyelash-catching glasses, matching tweezers to pick the saved eyelashes and a storage system. You then had portable jewellery so that you could always have a fallen eyelash in case of emergency or give them as gifts for your loved ones.Wishing on Eyelashes (2007-08) As part of my final project I investigated human rituals. I researched superstitions and one that I found to be common but rather poetical was to “wish on an eyelash” by blowing it off your finger. If an eye lash can potentially provide you with anything you want, they are a currency of sorts. Therefore, they are valuable, very valuable even. As coveted elements, you must try to preserve them. I designed a set that included eyelash-catching glasses, matching tweezers to pick the saved eyelashes and a storage system. You then had portable jewellery so that you could always have a fallen eyelash in case of emergency or give them as gifts for your loved ones.Wishing on Eyelashes (2007-08) As part of my final project I investigated human rituals. I researched superstitions and one that I found to be common but rather poetical was to “wish on an eyelash” by blowing it off your finger. If an eye lash can potentially provide you with anything you want, they are a currency of sorts. Therefore, they are valuable, very valuable even. As coveted elements, you must try to preserve them. I designed a set that included eyelash-catching glasses, matching tweezers to pick the saved eyelashes and a storage system. You then had portable jewellery so that you could always have a fallen eyelash in case of emergency or give them as gifts for your loved ones.Wishing on Eyelashes (2007-08) As part of my final project I investigated human rituals. I researched superstitions and one that I found to be common but rather poetical was to “wish on an eyelash” by blowing it off your finger. If an eye lash can potentially provide you with anything you want, they are a currency of sorts. Therefore, they are valuable, very valuable even. As coveted elements, you must try to preserve them. I designed a set that included eyelash-catching glasses, matching tweezers to pick the saved eyelashes and a storage system. You then had portable jewellery so that you could always have a fallen eyelash in case of emergency or give them as gifts for your loved ones.Wishing on Eyelashes (2007-08) As part of my final project I investigated human rituals. I researched superstitions and one that I found to be common but rather poetical was to “wish on an eyelash” by blowing it off your finger. If an eye lash can potentially provide you with anything you want, they are a currency of sorts. Therefore, they are valuable, very valuable even. As coveted elements, you must try to preserve them. I designed a set that included eyelash-catching glasses, matching tweezers to pick the saved eyelashes and a storage system. You then had portable jewellery so that you could always have a fallen eyelash in case of emergency or give them as gifts for your loved ones.

Wishing on Eyelashes (2007-08)

As part of my final project I investigated human rituals. I researched superstitions and one that I found to be common but rather poetical was to “wish on an eyelash” by blowing it off your finger.
If an eye lash can potentially provide you with anything you want, they are a currency of sorts. Therefore, they are valuable, very valuable even. As coveted elements, you must try to preserve them.
I designed a set that included eyelash-catching glasses, matching tweezers to pick the saved eyelashes and a storage system. You then had portable jewellery so that you could always have a fallen eyelash in case of emergency or give them as gifts for your loved ones.

Posted 3 months ago
Paper Flower (2006) A study of how natural figures are formed. An investigation on material, weight, volume and light.Paper Flower (2006) A study of how natural figures are formed. An investigation on material, weight, volume and light.Paper Flower (2006) A study of how natural figures are formed. An investigation on material, weight, volume and light.

Paper Flower (2006)

A study of how natural figures are formed. An investigation on material, weight, volume and light.

Posted 3 months ago
This was a project to develop a new material. Together with J. Gamonal we created this “plastified plasticine” that was dry and clean to the touch but quite workable. We then turned it into the Beat MP3, which had its command buttons hidden in the soft body to encourage interaction. The texture invited the usuer to relax whilst listening to music by pressing and releasing, like a “stress-ball”. View Larger

This was a project to develop a new material. Together with J. Gamonal we created this “plastified plasticine” that was dry and clean to the touch but quite workable. We then turned it into the Beat MP3, which had its command buttons hidden in the soft body to encourage interaction. The texture invited the usuer to relax whilst listening to music by pressing and releasing, like a “stress-ball”.

Posted 3 months ago