Inside The Artistry Of All Day I Dreams Designs
Acclaimed DJ and producer Lee Berridge launched All Day I Dream in 2011, an outdoor techno and house event on a sunken Brooklyn rooftop. That event has evolved into a world tour that combines music with costumes, lanterns and flashing lights in an inclusive environment.
Since its inception, the brand's design style has grown thanks to Christine Kim, who takes care of stage construction and event aesthetics, which she has been doing for five years. In this way, All Day I Dream shaped and defined the art that many parties follow today, and Kim has raised the bar in designing the brand's festivals and tours.
Here, Kim took the time to share with Forbes the inspiration behind the design and construction of All Day I Dream, its influences, keeping the essence of the brand alive through its work, and more.
Lisa Kokay. Can you describe the dreamlike atmosphere of the entire day in three words?
Christine Kim. "I feel like I could come up with a hundred words right now, but I think for today I'd say thrilling, exciting, and beautiful."
Kojai: Can you tell us about the inspiration behind I dream about design and buildings all day?
Chem. “All Day Dream has always had its own distinct aesthetic. It looks natural and organic. The combination of wood with CNC pattern combined with green flowers gives femininity. It also gives life to structures. There is also a brightness that comes from the colorful clothing and paper lanterns they use. Their scene has become really iconic over the last eight years, so I had to think about how to incorporate it into something new. At that time, many events were happening one after the other, so I wanted to escape from it. I've known Lee [Berridge] for years and we all agree that he's a very dynamic person with many layers both as a person and as a musician. I wanted to express this by designing and modernizing the look of the brand. However, I wanted to keep the dream element and play with colors. I'm very inspired by stained glass because it's something you don't see at parties, and I really wanted to expand on the concept I had of floating stained glass.
“I like to play with different materials, textures and transparencies, so in recent years I have found several ways to incorporate the idea of stained glass into some wooden structures. I worked with these triangular structures and many textures of fabrics and threads. [Berridge] really wanted to do something he'd never done before, so it was an interesting challenge for me. I came up with the idea to make these colorful floating wall panels. That's when he said. "Fine, you": to be employed."
“I also find a lot of inspiration in the world of fashion, architecture and my travels. I actually have a background in fashion design, so I apply a lot of what I've learned to that. I'm doing it today. I also follow quite a bit. some productions that take place. Still there because what they do is amazing between the clothes, the accessories, the makeup, the hair and the vibe. They tell a story and have a theme that really transports you to another world. I want to do. that too with my models...
KOJAI: I mean, in general, you would say that this is how you organize the scene, taking all those influences.
Chem. “I follow a lot of different artists, from painters to architects, interior designers, a lot of fashion and brand photographers. I think the way my brain works, I have a visual memory of everything I hold and look at. I have so many screenshots and stuff on my phone. I remember little bits of what I've seen and try to apply what I think is good to what I'm working on. In "All Day I Dream" I was thinking about the idea of doing something different, having something beautiful and colorful hanging on you, but it's not just flowers, it's not woven. It's something we haven't really seen since almost everyone else is doing the same thing. I wanted to develop it a little more and modernize it.''
Kojai: Can you describe your work in the development of the All Day I Dream festival and how you managed to maintain its core essence?
Chem. "Thus, the development of the festival was very interesting, challenging and quite an experience. When you go to any All Day I Dream in the world, you walk into the party and boom, you're at All Day I Dream without saying you're at All Day I Dream. I wanted to make sure we had the same feeling when you arrive at the entrance to the festival. I wanted to elaborate this familiar feeling throughout the festival. The festival park is quite open. there aren't many trees, so you can just hang things and light them up, which is an easy solution for most festivals. We really had to be very careful about what we had and where we had everything. There was a lot of history in its first year with the people who helped get it there.
“I thought it was very important to include them in some way, while also inviting new artists to collaborate. The original design developed by Matthew Holt and [Berridge] has been reused in a new way at the festival. We had one at the entrance to the festival so you knew you were going to Daydream.
“I also took elements of inspiration from their original DJ booths and incorporated them into an art installation that I designed and called Dream Vortex. It's a tunnel that changes your perception as you walk through it. You walk through it and it's also an installation. night One of my most memorable creations at the festival was sitting on top of a hill so you could see it from any distance. The original All Day Dream cloud mascot was created by John Deal years ago for a record label, we brought it to life, we turned it into a neon installation day and night in collaboration with my artist friend Dani Bonnet.
“We also took the plexiglass wooden structures onto the dance floor at our shows in New York and Miami. They were invited to the festival.
"The most difficult was the new stage. The new Cloud Nine stage, which rotates between the festival and some of the east coast shows. I'm so grateful that [Berridge] gave me that freedom to help create something new or to start a new aesthetic chapter at the end."
Kochai: The event brings together a unique culture that I've seen where people dress in a certain way, which I think is similar to Burning Man. Can you talk about how that affects event design?
Chem. “If you know [Berridge], he's quite lively and expressive, and he's always wanted it to show at parties. So the furniture, like the music, should transport you to a place where you really are... Say that All Day I Dream changed the formula of what a party should be and how it should be. Also, since it's a one-day party, it encourages people to feel free to express themselves comfortably and see themselves as they will be. stage [where a person burns] It is a place where you feel at home and relaxed.
Kocay. All Day Dream has carved and developed an aesthetic gift in many parties today. Can you discuss this in more detail?
Chem. “A lot of parties put a bunch of DJs in between the speakers and turn on the strobe. But when All Day Dream changed the dynamic, they focused on the material and added natural elements like bamboo and flowers, lots of colors in their materials. It sparked the imagination of many other events. All Day I Dream is an environment for the music, the performer and the crowd.
“Doing other events that are based on aesthetics really challenges [Berridge] and our team to get better and better. It's easy to start feeling comfortable and lazy. It's really interesting that [Berridge] really wants to put a lot of money into it. improve. look every few years, I think it's important to reuse and use our facilities to allow more places and cities to try projects, as well as reduce waste. I think it's hard for a lot of parties to do that because they don't want to invest. much in the production and transportation of their products."
Kojai: What do you think is more special than "All Dat I Dream"?
Chem. “I think it's really a community of people. There is a really deep love in society that feels real and not just a trend. It is quite stable. It's the love you feel from the crowd, the people who work here, the people you meet. I have met so many new people at various shows and festivals that they have now become lifelong friends, not just party buddies; true friends that I connect with on a deeper level that is hard to find as we get older. I've worked on other events and a lot of other things, but I think it's really special because I've heard [Berridge] and other people and I've seen it myself. There are just a ton of friends and people who met their partners at one of the events, and a lot of them even got married, which is really cool. It's been going on since I dreamed of working, and it doesn't seem to stop."
