DRESS Melbourne

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Category: Tasks

Fashion 101 Book Outline

I have decided to focus my book commenting on the aspects of ASOS and its integrated systems.

I hope to juxtapose the technology of ASOS with hand crafted illustrations and/or collages.

I hope to present both a digital and hard copy.

Lagerfeld Confidential

Lagerfeld Confidential is the first public biography of Karl Lagerfeld, Chanel’s creative director.

In response to the question how is a fashion designer created as a celebrity I feel it is a complex area of factors that are all used to position themselves separate from the ordinary person.

Celebrities separating themselves I feel is primarily due to the lack of information that is made available to the public. A lack of information fuels interest and promotes the idea of a celebrity within the public. In the digital world currently information is easy to access. Information that is wanted but is hard to uncover automatically creates a sense on exclusivity.

Lagerfeld keeps information at bay and carefully chooses what he wants share.  When questioned in Lagerfeld Confidential who knows him, Lagerfeld stated that he doesn’t even know, and ‘how can he’? –  As he constantly ‘moulds people’s opinions’ so he can control what others think and know about him, adding to the exclusivity of his image.

Appearance can also not be discounted when referring to how a fashion designer can be created as a celebrity. Lagerfeld’s extravagant fashion choice no doubt aids to his stance as a fashion celebrity.

Lagerfeld’s extravagant fashion choice too provides him with a form of security. His glasses are his signature however he enjoys the mystery and security they provide him with. This is confirmed when Lagerfeld says ‘I don’t want to be filmed without my glasses’.

Other factors which contribute to the fashion designer as being a celebrity are;

  1. The use of social media: Now allows the fashion designer to come into the public through the creation of their own image in the       public domain
  2. Fashion bloggers are able to seek out and provide the public with more information that they would not otherwise not have access too
  3. The front row – Fashion designers often sit in the front row creating again the a form of separation between the public and the

Week 4 Fashion101

 

 

What does Wenders reveal about fashion in Notebook on cities and clothes?

Below is some thought Wenders reveals in Notebook on cities and clothes. Unfortunately YouTube does not have part 4 however some interesting points were still raised. To watch more please visit:http://www.youtube.com/watch?v=wZA3a_XLCCs

  • European fashion has only been in Japan for a decade
  • Proportions ae important in fashion. This was demonstrated in Yamamoto fitting his clothes on to European models
  • Yamamoto’s method is first to touch and feel the material then he creates the form, however he ponders what other designers do and which would generally come first
  • Fashion is here and the now, however Yamamoto is practising within both his past and present
  • Black is Yamamoto’s preferred colour. Why do you need colour when you have texture and form. Everything can suit black
  • Every designer has their own language

One paragraph summarizing Kawamura’s approach to understanding fashion

Kawamura’s reveals a number of key aspects regarding fashion. When unpacking fashion it is first pivotal to differentiate between fashion and clothes. He states they are  “Separate concepts although they are used frequently used interchangeably” however “Fashion has little to do with clothing” as “Clothing is a material production while fashion is a symbolic production”.

Furthermore Kawamura explains that clothing is what we need to function as an individual where as fashions function is merely a ‘status function’ which is crafted through the institutions and later acknowledged as fashion depending on who wears it.

However Kawamura’s main description is that Fashion is an eco system comprising of a wide range of factors and people “whose collective actions construct the fashion system” and clothes are simply the “raw material” which aid in the construction of fashion.

 

List three or four key aspects that Kawamura sees as contributing to Yamamoto’s position as a “sartorial revolutionary”

1. ‘Reinterpretation of standard techniques’ Pg.54

2. Presents a new form of beauty where the clothes are not sexually overt rather reflect the style of the kimono where body contours are not accentuated. This was demonstrated in the 1980’s where Yamamoto introduced “large loose-fitting garments, such as asymmetrically constructed jackets…”

3. Creation of often gender neutral garments. This was enhanced through the use of black which shocked the fashion world as “black was not considered appropriate for high fashion”