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The Japanese Revolution in Paris Fashion
Abstract
Contents: Part 1: Fashion Culture and France -- Fashion Dominance in France: History and Institutions -- The Modern Fashion System in France -- The Global Diffusion Mechanism of Fashion: Past and Present -- Social and Technical Differences among Haute Couture, Demi-Couture and Pret-a-Porter Part 2: Interdependence between Japanese Designers and the French Fashion System -- The Japanese Fashion Phenomenon in Paris since 1970 -- Type 1: Kenzo. Complete Assimilation into the French Fashion System -- Type 2: Rei Kawakubo, Issey Miyake and Yohji Yamamoto. Construction of the Avant-Garde Japanese Fashion -- Type 3: Hanae Mori. Attainment of the Ultimate Designer Status in Paris Conclusion: Paris as the Battlefield of Fashion
... Many fashion scholars have criticised the myth of the creative genius designer, seeing it as gendered, neoliberal and simply false against the realities of design work, where designers collaborate, interact and negotiate with complex networks of individuals, institutions and technologies (e.g. Blumer 1969;Crane 1993;McRobbie 1998;Mora 2006;Kawamura 2004;von Busch 2008;Huopalainen 2016;Moon 2016;Vangkilde 2017). Fashion design balances between authorship and impersonality. ...
... Roland Barthes (1990Barthes ( [1967) defined fashion as a semiotic system and a form of culturally codified language that reflects the ideologies, social structures and societies. After Barthes, the analysis of fashion as a communicative system has been widely applied -to texts, visual representations of fashion and actual garments alike; among these are scholars such as Fred Davis (1992), Alison Lurie (1981), Malcolm Barnard (1996), Joanne Entwistle (2000a), Annamari Vänskä (2017b) and Yuniya Kawamura (2004;). This system also constructs the myth and figure of the fashion designer. ...
... Renfrew and Renfrew 2016;McKelvey and Munslow 2012) or focuses on successful "star" designers. Sociological investigation on fashion designers has touched upon cultural, organisational, economic and societal specificities in certain locations (Gronow 1997;McRobbie 1998;2016a;2016b;Skov 2002;Volonté 2012;Kawamura 2004;Crane 1993;. Empirical research on fashion design practices, processes and designers' roles has more widely attracted attention from anthropologists, economists, and design and fashion researchers in the last decades (e.g. ...
This doctoral thesis investigates how the field of fashion design is affected by the current transformations in technological environments of “fashion 4.0”. Contributing to fashion studies and design research, the theoretical framework of this qualitative research draws from authorship theorisation, sociology of professions and posthumanism. The empirical multiple-case study research focuses on four pioneering, technologically advanced “fashion 4.0” fashion design practices, where the creation happens in virtual spaces and is shared with non-professionals, networks or machines. The case studies are The Fabricant, Atacac, Self-Assembly and Minuju. The primary data were collected ethnographically through semi-structured interviews and field observation and complemented by written or spoken material generated by the cases. The secondary data consisted of media publications on the cases. Research material is analysed using the reflexive thematic analysis method.
The article-based thesis consists of four publications and an introduction. Publication I, “From Worth to Algorithms: The Role and Dimensions of Authorship in the Field(s) of Fashion Design”, is a conceptual investigation of fashion designers’ authorship in relation to their profession and contemporary digital practices. Publication II, “Open-Source Philosophy in Fashion Design: Contesting Authorship Conventions and Professionalism”, delves into open-source philosophy as a design approach that contests conventional fashion designership, analysing the phenomenon through three empirical case studies. Publication III, “Digital 3D Fashion Designers: Cases of Atacac and The Fabricant”, looks closely at two case studies that represent the rise of digital(-only) fashion and liquify the boundaries of fashion designership. Publication IV “Just Hit a Button!’ – Fashion 4.0 Designers as Cyborgs, Experimenting and Designing with Generative Algorithms” explores algorithmic fashion design as a posthuman dimension of designership and proposes the concept of a cyborg designer.
The thesis provides new knowledge on the authorship and professionalism of “fashion 4.0 designers” operating in the digitalised society. It is argued that the new (sub)field of digital fashion contributes to the re-professionalisation of fashion design through open-source philosophy, posthuman discourse, intellectualisation of fashion practice, novel employment possibilities and entry to the gaming and technology fields. Fashion 4.0 practices are changing the ideals of fashion design from the autonomous designer to a community player and metathinker who adjusts their skills according to projects, collaborators and co-creators. The fleshiness of fashion design transpires in digital fashion practices in which designers use digital technologies as design companions, ledgers of their tacit knowledge, sites and materials of creation. Fashion 4.0 designers are characterised by fluidity between digital technologies, human networks and physical realities.
... The process involves the making of a block pattern to achieve the required silhouette. This not only defines the functions of garments but provides information that refers to body shape, i.e., the trousers are supposed to have two legs and similarly the sweaters two arms, and a torso (Kawamura, 2004). ...
... There are various ways of approaching the design processes in fashion; for example, Miyake and Yamamoto introduce new perspectives to garments and the body by redefining what clothes look like and can look like (Kawamura, 2004). Karan and Toledo work directly with fabric, flat patterns, and three-dimensional draping methods (Dieffenbacher, 2013, p. 10). ...
The human body has been considered to be an active element and is a common starting point of fashion design processes. However, during these processes, understanding of the body and how it is used to design is often confined by the body’s standard spatial and structural characteristics. The research presented in this thesis aimed to examine body alternatives in fashion design processes in order to explore and open up for alternative body expressions for developing silhouettes for clothing.
Alternative aesthetic approaches and understandings of the body as a design tool were researched through experimental explorations, reflections, dialogue, and discussions. These created an embodied dialogue between thought and execution which was further developed and informed by the EDI (Embodied Design Ideation) framework for analysing and refining understandings of the interactions between the body, materials, and movement. These explorations and their outcomes bridge the theory of research for the art and research for art and design.
The explorations were based on the varied ways in which the body is perceived during body-material interactions, and were explored through movement, human-technology interfaces, and an exploratory workshop conducted at the Swedish School of Textiles. These explorations expanded our understanding of the body’s aesthetics in relation to material interactions and embodied experiences. The explorations questioned our preconceived conceptions of the body and facilitated a process of re-learning these through fashion design.
The results of the explorations were alternative methods and tools that use the body as a central variable in fashion design. The research culminated in the development of conceptions of the body in design processes that increase the design possibilities by introducing new concepts, tools, and methods. The body alternatives developed provide an openness in terms of design thinking and introduce conceptions of the body that can facilitate or improve design practice. The results have implications for design methods and contribute to methods in general and fashion design education programmes in terms of how they facilitate design processes.
... The success of the young Japanese avant-garde of the 1970s and 1980s in Paris, as well as the career of the only Asian couturière, Hanae Mori, are all vital developments in the 20th century. The collections of the "Big Three," Issey Miyake, Yohji Yamamoto, and Rei Kawakubo, had the postmodern claim to break through the boundaries between West and East, fashion and anti-fashion, and modernity and anti-modernity, and to overturn the existing rules of fashion and clothing (Kawamura, 2004). They succeeded in this -the monochrome, asymmetrical, architectural-looking designs, with their holes and rips, shocked the Parisian fashion world, spurring enthusiasm but also rejection. ...
... Even if the revolutionaries had caused a stir in Paris, continued success was only possible by integrating themselves into the existing system of the fashion world there, for example through regular participation in the shows. The acquisition of social, economic as well as symbolic capital according to the rules of the Parisian "fashion worlds" (following Becker's (1982) "art worlds") secured their recognition and that of the following (Kawamura, 2004 These complex loops of perception can be observed in Tokyo as well. As a capital city, it shows how self-perception and perception of others, exoticizing and internationalizing tendencies can influence what is on offer, and how its neighborhoods make use of it in their own ways, Harajuku among them. ...
When considering the significance of the Tokyo district Harajuku for the fashion scene, the discrepancy between its limited dimensions of barely two square kilometers and its great national and international relevance in pop culture is striking.
Throughout Harajuku’s development, a special role of the international emerges, shaping the identity of this neighborhood. At the same time, DIY practices have long played an important role, inspired by the area’s global connections. In recent years, this process has intersected with the development of fashion cultures online.
My article develops a brief cultural history of Harajuku since the post-war period based on interviews with formative actors from its history, print and online media content and observations made on site.
... Busana dengan teknik kerumitan diatas busana ready-to-wear pada umumnya namun tidak serumit busana haute couture inilah yang kemudian dikenal sebagai busana demi-couture. Busana demi-couture tidak dibuat secara spesifik untuk seorang individu tertentu saja, namun juga tidak diproduksi secara massal dengan kualitas pabrik seperti halnya pada busana ready-to-wear (Kawamura, 2004). ...
... Tren busana demi-couture pada dasarnya telah ada sejak beberapa dekade lalu dimana para designer couture dalam dunia fashion membuat tren baru yaitu busana ready-to-wear versi mereka sendiri hingga melahirkan tren busana ready-to-wear dengan teknik handcrafting tingkat tinggi dalam setiap potongan busana yang dibuat, yang kemudian dikenal sebagai busana demicouture (Tan, 2019). Ketika busana haute couture mengalami penurunan dalam menarik minat konsumen, para designer couture kemudian dipaksa untuk melonggarkan aturan dalam sistem haute couture dimana aturan-aturan tersebut mengalami sedikit modifikasi namun masih menggunakan aturan inti dari sistem yang ada pada dunia mode, salah satunya adalah mengenai penggunaan teknik handcrafting dan penggunaan material yang berkualitas dalam produk yang dihasilkan (Kawamura, 2004). ...
In the process of making a fashion product, especially clothes, it is known that at the end of the production process there is waste produced in the form of cloth. To reduce fabric waste generated in the production process, there is potential to apply the zero-waste fashion design method. Zero-waste fashion design is a method of reducing waste in the fashion production process. The zero-waste fashion design method maximizes the use of fabric dimensions in the fashion-making process by adjusting the pattern of clothing used to produce less than 15% waste. This study aims to apply the zero-waste fashion design method to demi-couture clothing collection. As an added attraction, the clothing produced in this study uses the application of the Sashiko technique as a decorative element. The research method that being used is a qualitative research method with data collection techniques in the form of literature study, observation, and exploration. The result of this research is in the form of a demi-couture clothing collection with the application of the zero-waste fashion design method into the clothing collection. Keywords: zero waste fashion design; demi-couture; sashiko.
... 'Unisex', 'androjen', 'genderless (cinsiyetsiz)', bunlardan sadece birkaçıdır (Bardey vd., 2020 Yohji Yamamoto "androjenlik, bireyin kendini tanımlamasının tarafsız bir yoludur ve moda bunu başarmak için mükemmel bir araçtır" diyerek, bu yeni moda türünü tanımlamak için androjen terimini seçmesi ve toplumsal cinsiyet etrafındaki sosyal yapılara meydan okuması, onu androjen modanın öncülerinden biri yapmıştır (Kawamura, 2004). ...
Ribats are one of the first building types built by Islamic civilization. The term was used to describe the places where
the murabıt gathered during the period of the Prophet and the Khulefa-i Rashidin. During the period of the first Islamic
conquests, ribats were built for defense purposes. In the regions where Islamic sovereignty was established, ribats
started to be used with different functions. Islamic conquests in Maveraünnehir, where the first Turkish Islamic states
ruled between the X th and XII th centuries, started in the VIIIth century. In the IX th and X th centuries, Muslim
geographers and travelers described Transoxiana as a region where the struggle against non-Islamic elements continued.
In this period, apart from those with defense function, they mention ribats built for accommodation purposes. It is
thought that the research on the ribats in the geography of Transoxiana between the X th and XII th centuries will
contribute to the understanding of the change of function in the structures.
... In this regard, all respondents in our study acknowledged the relevance of the culturally dominant discourses emanating from the firsthand fashion industry in shaping the reality of consuming secondhand clothing. These discourses are indicative of a wider shift that emerged in the later 20 th century, which saw fashion production and consumption increasingly move from material production to image-production (Kawamura 2004). These discourses are propagated and disseminated by various industry professionals, such as fashion media professionals (Van de Peer 2022). ...
The study explores motivations for second-hand clothing practices using wardrobe interviews with a limited sample of twelve higher-education students in Belgium. Three types of practices were identified: bargain hunters, uniqueness searchers and ethical and ecological buyers. The study reveals that despite the perceived sustainability of second-hand clothes, these practices often result in large volumes of clothing purchases, contradicting sustainability motivations. Ecological respondents experience ‘affective dissonance’ due to a disconnection between their sustainability beliefs and fashion practices. These uncomfortable emotions reveal an aspiration to engage in more sustainable fashion practices in the future. Despite this, all respondents evaluate their second-hand clothing practices by relying on the culturally prevalent discourses of the first-hand fashion industry. The study concludes by highlighting the implications for the development of alternative and more sustainable fashion practices when second-hand clothing practitioners reproduce the symbolic boundaries that govern the first-hand fashion industry, and the authors suggest pathways to address these implications in the future.
... Moda ve moda tasarım olgusu içinde bulunduğu dönemin farklı dinamiklerinden etkilenmektedir. Modanın giysilerle sınırlandırılamayacak kadar karmaşık olan farklı yönleri geniş ve bütüncül araştırmaları gerekli kılmaktır (Kawamura, 2004 incelenmiştir. Bu tasarım kodları objektifinde ünlü tasarımcıların tasarımları tartışılmıştır. ...
Postmodern toplum teorisi her alanda olduğu gibi modada da özgürlükçü bir yaklaşım sergileyerek güzellik, beden ve tasarım prensiplerine eleştirel yaklaşmaktadır. İçinde bulunduğumuz postmodern çağda moda, sözde özgürlük ve tüketim kutsaması ile diğer tüm dönemlerden baskın olarak bireyi yönetme gücüne sahiptir. Bu çalışmanın temel araştırma soruları şöyledir: İçinde bulunduğumuz modernizm sonrası dönem moda olgusunu ve moda tasarımını nasıl etkilemektedir? Moda bireyi yönlendirirken hangi araçları kullanmaktadır? Bu dönemde moda tasarımcıları tasarım pratiklerini nasıl geliştirmektedir? Bu sorular kapsamında araştırmanın amacı postmodernizm ve modanın birlikteliğinden ortaya çıkan kavramları, bu birlikteliğin moda tasarımına ve moda tasarımcılarına etkisini geniş ve bütüncül bir bakış açısı ile irdelemek ve tartışmaktır. Bu bağlamda çalışmada postmodernizmin moda üzerinden bireyi inşa ettiği tüketim araçları, kimlik ve beden kavramları literatür araştırması ile incelenmiştir. Bu kavramların moda tasarımı pratiğinde ünlü tasarımcılar tarafından nasıl kullanıldığı örneklerle sunulmuştur. Çalışma modanın yaşadığı dönüşümü geniş bir perspektiften ele alarak, ortaya çıkan kavramları bütüncül olarak sunması yönüyle özgündür.
... Toplumsal normlar tarafından aktarılan bireyin 'cinsiyetinin' aynı zamanda giyim tarafından da kapsanmasının gerekmediğini savunan tasarımcı, unisex fikrinin düzgün bir şekilde temsil edilebilmesi için modellerin 'cinsiyet' belirteçlerinden arındırılmasının en iyi sonucu vereceğine inanmaktadır (Frederick, 2022). Yohji Yamamoto "androjenlik, bireyin kendini tanımlamasının tarafsız bir yoludur ve moda bunu başarmak için mükemmel bir araçtır" diyerek, bu yeni moda türünü tanımlamak için androjen terimini seçmesi ve toplumsal cinsiyet etrafındaki sosyal yapılara meydan okuması, onu androjen modanın öncülerinden biri yapmıştır (Kawamura, 2004). ...
Son yıllarda artan cinsiyetsiz giyim modası, kadın ve erkek arasındaki geleneksel cinsiyet kodlarını değiştiren genç nesil tarafından geliştirilmekte olan yeni bir eğilim olarak tanımlanmaktadır. Gençlerin cinsiyetsiz modaya yönelik görüş ve tercihlerinin değerlendirilmesi amaçlanan bu çalışma; tarama modeline dayalı betimsel bir araştırmadır. Tesadüfi örnekleme yöntemi kullanılarak seçilen 310 kadın ve 301 erkekten oluşan toplam 611 üniversite öğrencisi, bu araştırmanın örneklemini oluşturmuştur. Araştırma verileri iki bölümden oluşan anket ile toplanmıştır. Anket formunun ilk bölümü gençlerin demografik özelliklerine ilişkin sorulardan, ikinci bölümü gençlerin cinsiyetsiz moda ürünlerine yönelik görüşleri ve giysi tercihlerinde toplumsal cinsiyet normlarının etkisine yönelik üçlü likert tipi sorulardan oluşmaktadır. Elde edilen veriler SPSS 25.0 istatistik programında analiz edilerek frekans tabloları oluşturulmuştur. Demografik özelliklerle görüşler arasındaki ilişki ki-kare analizi ile belirlenmiştir. Araştırma sonuçlarına göre, gençlerin cinsiyetsiz moda hakkındaki düşünceleri ve cinsiyetsiz moda ürünlerine yönelik görüşlerinin kararsızlık ve ikilem içerdiği dikkat çeken önemli bir nokta olarak görülmüştür. Cinsiyetsiz modanın temsil ettiği özgürlük ve ifade konularında gelişme potansiyeli olduğu düşünülürken, bazı gençlerin konu hakkında daha fazla bilgi edinme isteğinde olduğu belirlenmiştir. Ayrıca, gençlerin giysi tercihlerinde cinsiyetsiz modanın etkisinin olmadığı, toplumsal cinsiyet normlarının ve demografik özelliklerin de giysi tercihleri üzerinde belirleyici olduğu saptanmıştır. Anahtar Kelimeler: giyim tarzı, cinsiyetsiz moda, giysi tercihi, cinsiyet normları Evaluatıon of Youth's Vıews and Preferences Towards Genderless Fashıon Abstract The increasing genderless clothing fashion in recent years is defined as a new trend being developed by the young generation that changes the traditional gender codes between men and women. This study aims to evaluate young people's opinions and preferences towards genderless fashion; It is a descriptive research based on scanning model. A total of 611 university students, consisting of 310 women and 301 men, selected using the random sampling method, constituted the sample of this research. Research data was collected with a survey consisting of two parts. The first part of the survey form consists of questions about the demographic characteristics of young people, and the second part consists of triple Likert type questions about young people's opinions on genderless fashion products and the effect of gender norms on clothing preferences. The obtained data were analyzed in the SPSS 25.0 statistical program and frequency tables were created. The relationship between demographic characteristics and opinions was determined by chi-square analysis. According to the results of the research, it is seen as an important point that young people's thoughts about genderless fashion and their views on genderless fashion products contain indecision and dilemma. While it is thought that there is 78
... Um caso emblemático é a chegada da moda japonesa em Paris. Como analisou Yuniya Kawamura (2007), a participação dos designers de moda japonesa em Paris, sobretudo entre os anos 1960 e 80, representou uma verdadeira revolução. Os principais nomes foram os de Kenzo, Rei Kawakubo, Issey Miyake, Yohji Yamamoto e Hanae Mori. ...
Quimonos, tatuagens, turbantes, túnicas, leques, pentes de cabelo, sandálias exóticas e muitos outros “adereços” fazem parte do imaginário ocidental há pelo menos três séculos. No entanto, esses objetos de desejo, sempre guardaram uma certa ambiguidade, transitando entre a fascinação e práticas autoritárias muito cruéis para estigmatizar os povos antípodas, que seriam aqueles que vivem do outro lado do mundo, tendo como referência geopolítica o Ocidente. [...]
... In general, the Japanese designers in Paris, by combining Parisian fashion with their own culture and thus innovating in avant garde clothing, have greatly stabilized their position in the fashion capital and have earned themselves social and capital recognition. This book focuses on the impact these avant garde designers had on themselves and society through their work, rather than just on the surface of fashion design [5]. Bonnie English focuses on the research of Japanese designers who combine fashion art with ideology and use clothing as an expression of self-knowledge. ...
... As the fundamental topic in fashion design field, the labels consist of design strategies, young fashion designer, costume design, South Korean contemporary fashion design, China fashion design, etc. Is the Fig. 6 Co-citation clusters about "fashion design" theme research about the characteristics of fashion in different historical stages, region, area, culture and style study (Bugg, 2009;Chang & Lee, 2021;Creigh-Tyte, 2005;Kawamura, 2004;Kim & Farrell-Beck, 2005;Larner & Molloy, 2009;Ling et al., 2016;Millspaugh & Kent, 2016;Park, 1993;Sterlacci, 2019). ...
Fashion or apparel refers to a topic discussed publicly as an indispensable discipline on a day-to-day basis, which has aroused rising attention from academic sessions over the past two decades. However, since the topic of fashion design covers knowledge in extensive ranges and considerable information, scholars have not fully grasped the research field of fashion design, and the research lacks directional guidance. To gain more insights into the existing research status and fronts in the fashion design field, this study conducts a quantitative literature analysis. The research of this study is conducted by employing CiteSpace technology to visualize and analyze 1388 articles regarding “fashion design” in the Web of Science (WOS) Core Collection. To be specific, the visualization and the analysis concentrate on the annual number of articles, author collaboration, institutional collaboration, literature citations, keywords clustering, and research trend evolution of the mentioned articles. As highlighted by this study, the effect of the US and the UK on academic research in fashion design is relatively stronger and extensive. Sustainable fashion refers to the research topic having aroused more attention since 2010, while new research topics over the past few years consist of “wearable fashion”, “transgender fashion” and “medical fashion”. The overall research trend of fashion design is developing as interdisciplinary cross research. This study systematically reviews the relevant literature, classifies the existing research status, research hotspots and frontier trends in the academic field of “fashion design”, and presents the knowledge map and information of literature for researchers in relevant fields.
... Little is known about export-oriented design in other countries, although buyers I spoke with expect similar services (though different product varieties) in Sri Lanka, Vietnam, Indonesia, and China. Korea (Shin 2017) and Japan (Kawamura 2004) have advanced design infrastructures. ...
The interdisciplinary paradigm of global value chains gives us a baseline understanding of how the $1.3 trillion apparel market is organized. Brands are believed to be largely responsible for industry organization. While there are many case studies of industries like apparel or electronics, they are rarely carried out with an ethnographic sensibility that digs into the interactions of conflict, coordination, and execution. My dissertation takes us inside apparel factories, buying agencies, and textile mills in India. I use organizational theory, economic sociology, and social psychology to gain an intimate understanding of how fashionable objects are anticipated, designed, sourced, planned, constructed, and tested. The chief substantive contribution of the work is the integration of multiple levels of analysis, from the transnational coordination of forecasting down to the micro analysis of assembly lines. Additional findings, like the existence of brokerage networks that mediate design from the global semi-periphery, counter 125 years of academic and political skepticism. At the brand level, again in contrast to existing evidence, I find that differences between luxury and discount brands extend throughout dozens of decisions and quality parameters. Different assessments are partially explained by occupational positioning. Our self-presentations are cut from global cloth.
... Le persone ti guardano in modo diverso". 22 Tuttavia, non sono solo gli stilisti a lavorare secondo il ritmo stagionale. L'intero settore della produzione di alta moda, dai compratori 23 fino ai giornalisti, segue questa rigida architettura temporale che -in senso cronologico -precede sempre di quattro o sei mesi (una stagione) i consumatori della moda. ...
... While the systematic symbolic production practices brought forth by the third generation of IBC designers has upgraded Chinese designers' hierarchical status in the global fashion system, a new cultural collective of emerging IBC designers is progressively emerging while the old aesthetic and cultural hierarchy created by designers from the designerscape era is being reconstructed. Now, as Chinese designers assert their power in the global fashion system, they may gain recognition as a second group of Asian designers after the Japanese designer collectives (Kawamura 2004;English 2011). This could add more cultural diversification and aesthetic innovations in today's global fashion cultural system without rupturing any existing cultural systems and creative disciplines of showcasing fashion. ...
The past five years have seen a rapidly rising “new wave” of design power created by Chinese designers who are devoted to showcasing their works within the legitimate European fashion week system – which includes the “Big Four” fashion weeks in New York, London, Milan, and Paris – to upgrade their cultural status as Chinese design collectives. In addition to showing their collections with a high-end design standard, this group of visual innovators are constantly seeking aesthetic innovations when showing fashion and have gradually been changing and influencing the emerging generation of international-based Chinese designers by displaying and showing fashion at international fashion weeks. This paper integrates and investigates the new aesthetics in fashion visualization brought forward by a collective of emerging international-based Chinese designers who have gradually expanded their cultural influences and re-shaped innovations in contemporary fashion shows within the current global fashion ecosystem. These new aesthetics feature fashion’s new affinity with immersive physical theater, a type of avant-garde post-dramatic theatre, when being shown on a global stage. Furthermore, the rising institutions at Shanghai Fashion Week have been producing and advocating for the formation of international-based Chinese designer collectives to experiment with new aesthetics via multiple forms at London and Shanghai Fashion Weeks between 2017 and 2020, both physically and digitally. This has led to systematic changes and innovations in the global fashion cultural system, in terms of both forming and shaping a new aesthetic identity of Chinese designers within the global fashion system.
... She believes that the sense of volume around the body brings out diversity and sensual pleasure for the one who carries the creation. [2] Picture 2: Comme des Garcons. Image from Jane Magazine August 1998. ...
The space can be considered in the fashion design in two ways. The first way relates to empty area or "air" surrounding the human form, which is infinitely intriguing for fashion designers and a three-dimensional void that is hollow but has a volume. Another way is a two-dimensional void, which has its own boundaries, but unlike the shape and surface, it has the potential to extend and become something else. In this sense, space is the integral part of the interior of the design. The human form can be viewed as occupying space in several directions: forward, backward, sideward, and up/down. The work is based on the influence of space in garment design. It examines the historical aspects of clothing and the role of space as an element that participates in the creation of a recognizable garment composition. It analyzes the examples of crinoline, panniers, and works by Japanese designers who used kimono-style designs at the end of the 20th century (Rei Kawakubo, Issey Miyake). This paper explains the difference between the positive and the negative space using the works of Pierre Cardin, a French designer, as examples, and the modification of the appearance of the human figure, and emphasis on natural curves by manipulating space.
... There was a lot of publicity and I got a lot of recognition." The findings support those of Kawamura (2004), which examined how Japanese fashion designers achieved international prominence, gained recognition and formed social capital. ...
Creative entrepreneurship have contributed to economic development of regions and countries and have become models for the countries in the western world. Jewelry designer entrepreneurs are one of the contributor towards creative economy for their role in economic prosperity. This article investigates brand building efforts of jewelry designer entrepreneurs. We explore how jewelry designer entrepreneurs develop and communicate brand narrative and brand backstories confer value to jewelry.
This study used a qualitative approach. Semi-structured in-depth interviews were conducted with 7 Portuguese designer jewelry.
The study identified seven themes to reflect the brand narratives of the Portuguese jewelry designer entrepreneurs: 1) Designer artists considered the importance of international recognition; 2) Designer jewelry uses the ontological metaphor to connect emotionally; 3) Designer jewelry making a jewelry piece that is fluid and organic; 4) Limited association with fashion; 5) Distinctive brand communication; 6) Fair pricing strategy and 7) Identifying self as artistic worker.The study also shows that jewelry designer entrepreneurs adopts a distinctive brand communication tactics to connect emotionally with imagine customers.
This study proposes a general and managerial guide to boost personal brand jewelry designers entrepreneurs through brand narratives.
This study bridges an academia gap on personal branding exploring how jewelry designer entrepreneurs develop and communicate brand narrative and brand backstories adding value to the jewelry industry.
... Having absorbed the Western lessons of modernization in its emergence as a modern nation state in the early part of the 20th century, and then as a global economic power from the 1960s onwards, in the 1970s and 1980s it began to produce innovative and distinctive variations on modern global culture that swept through both regional and global markets (Moeran 2000;Iwabuchi 2002). Japan became a globally visible producer of new culture, not only in terms of the wildy popular culture of anime (animated cartoons), manga (comics), tv and film, toys, electronic games and brand characters --Godzilla, Pokemon, Hello Kitty and all that (Allison 2006;Kelts 2006) --but also the "high culture" branches of, for example, contemporary design, catwalk fashion and architecture (Japan Foundation 2008;Kawamura 2004;Koolhaas and Obrist 2011). Japan in effect patented a model of Asian modernity that, in the 1990s and 2000s, has become a path for others: pop culture from Hong Kong, K-Pop from Korea, Singapore or Taipei as creative cities and, above all, the rise of China. ...
As with other facets of social change, innovation and creativity explored in this volume -- such as science and technology, cuisine, youth culture, gender identities -- the rise of distinctive new contemporary art from East Asia offers possibilities for exploring the interaction of the local, the national, the regional and the global, in a particular field of cultural producution and from new world perspectives. My chapter offers another angle on the "making and unmaking of transnationalism in East Asia", by considering the cross-border dynamics of Japanese modern and contemporary art -- and particularly the international mobility of artists -- as a part of an Asian led cultural globalization (...).
... Many scholars have argued that fashion is too "frivolous" a topic to attract the attention of academicians. For example, Caves (2000) has argued in favor of the same that frivolous activities can"t exert intellectual attraction towards them as against industries like steel, computer chips etc. Fashion according to some scholars has never been popular in social science disciplines (Kawamura, 2004(Kawamura, , 2005. It has been argued that since fashion has been seen as a gendered phenomenon majorly linked with women, as a reason it has witnessed depreciation in terms of research. ...
This study examines and analyzes the luxury scenario in India, luxury fashion in particular, comprehending the luxury consumption pattern of Indian consumers; getting insights into their attitudes regarding luxury fashion brands as well their purchase intentions, satisfaction from purchase of luxury fashion brands along with their repurchase intentions for the same.
... At present, hardly any area of contemporary social life is not subject to fashion [8]. Mostly, the concept of fashion is approached through Western systems (see e.g., [9][10] [11]). However, it may be treated as a cultural form of life that could apply to many areas of the human experience, "virtually to the human experience in its entirety," and as a universal manifestation "rooted in the very nature of the human being as such" [12] (introduction). ...
Designing intelligent technologies is a multidisciplinary process. From this perspective, fashion has continued to be an under explored dimension of technology design. While there persistently are connections between the term fashion and the clothing design industry, an historical and sociological approach to fashion reveals a much deeper and permeating understanding of the notion and its implications across the technological world. During recent popular developments, the interrelationship between fashion as a concept and technology as components and proponents of fashion – technology as fashion promoter (think of Tiktok, Instagram, Facebook and even LinkedIn for example), and technology as fashion constituent, come to light. To stand back from social media and examine not only technology branding and culture building as seen in Apple and Google for instance, but also user interface design, system logic and algorithms as constituents of fashion, a more profound comprehension of the interplay between culture, technology, emotions and cognition may be developed. This paper seeks to lay the grounding of a semiotic, social-experiential understanding of fashion as technology. It draws on recent technological examples, which are then enriched with theory from fashion research and cognition and provides insight for how fashion thinking can enrich the design of intelligent technology.
... Optar por uma cartela de cores na maquiagem, usar uma peça do guarda-roupa ao avesso ou adquirir um novo par de sapatos com solado colorido para transitar pela cidade são escolhas que nos permitem exercitar a aparência como cenário do imaginário e posicioná-la como integrante da cultura. Para que isto ocorra, os modos de funcionamento da Moda convertem roupas e demais artefatos em produtos, uma vez que a indumentária é uma produção material e a própria Moda é uma produção simbólica (CAMPOS & RECH, 2010;KAWAMURA, 2004). ...
O presente artigo propõe um diálogo entre as áreas do Design de Moda e da Filosofia, no sentido de ampliar discussões sobre normatização dos corpos e produção de subjetividade, no contexto da Moda. Um breve recorte sobre os corpos que predominaram como modelos no final do século XX, colabora para empreender uma articulação entre a coleção Body
Meets Dress, Dress Meets Body (1997), criação da designer japonesa Rei Kawakubo, e o ensaio O Corpo Utópico (2013), de autoria do filósofo francês Michel
Foucault. Esta abordagem conduz reflexões sobre corpos imaginados, para além da normatização.
The aim of this article is to provide an in-depth analysis of the issue of change and constancy in fashion, challenging the common belief that fashion is exclusively a domain of ephemerality and instability. After discussing the theoretical approaches to change and constancy in fashion in the first part, the second part introduces the categories of changeable unchangeability and unchangeable changeability and uses them to analyse selected aspects of the contemporary fashion system, showing their paradoxical nature. Given the social significance of fashion, the paper will contribute to a broader debate on change and constancy in contemporary social life.
During the postwar era, luxury fashion firms entered a new phase of their international growth with the licensing of their brands. The French haute couture firm Dior was pioneer in licenses, and established branches in a series of countries around the world. Inspired by the transatlantic successes of firms such as Jean Dessès, Christian Dior, and Norman Hartnell, French luxury firms registered their brands internationally and replicated the registration of trademarks in numerous countries. This paper further examines the reach of luxury fashion and beauty brands in the colonies of France and of Belgium. This shows that the fashion firms expanded their transatlantic expertise, and that this created newer transatlantic circuits in return.
One of the main objectives of a country’s fashion industry is to enable the consumer to identify the country as an indicator of how good the products are, because, from that perspective, they will prefer that country’s products and there may be the possibility of not paying more for a product that they believe to be of high quality. In this perspective, the fashion industry had great relevance for the national economy and therefore national marketing strategies should develop and promote a positive image of the country and of its products to increase the volume of exporting. Thus, in an increasingly competitive and demanding market, fashion business tourism has become essential for the fashion industry to be known by its potential consumers, associated with a high degree of quality, technological improvements as well as sustainable practices in its production. However, fashion business tourism is not properly valued by the tourism industry, so this research aims to deepen scientific knowledge about this segment. The general objective of this study is to understand the role of fashion business tourism in the northern region of Portugal, in general, and in the city of Vila Nova de Famalicão as the Portuguese capital of the textile industry. The research applied a qualitative methodology, with data collection through semi-structured interviews with representatives of textile factories and of textile associations. The results provide relevant data for the valorization of the sector and the region, through cooperation and regional promotion strategies, relevant to the desirable notoriety of the fashion industry promoting business tourism.
: In a world marked by diverse cultures and international complexities, fashion has emerged as a
dynamic form of diplomacy, connecting nations and transcending boundaries. The global runway has become a
canvas where designers paint stories that celebrate the beauty of cultural diversity and weave threads of tradition
into the fabric of modernity. Fashion diplomacy is not merely a reflection of cultural exchange but a powerful
driver of it. Through the art of clothing, cultural elements are blended, bridging gaps and strengthening global
ties. Fashion weeks, once showcases of style alone, have now transformed into platforms where cultural heritage
is paraded alongside haute couture. This evolution is a testament to fashion's role in enriching the dialogue
between nations. Economic diplomacy takes center stage in the textiles industry, as clothing exports become vital
in international trade. Ethical fashion practices are no longer confined to ethics; they're essential diplomatic
discussions. Collaborative endeavors in ethical fashion strengthen the bonds between nations, shining a light on
shared values and goals. Fashion diplomacy is a manifestation of soft power, where culture and values are the
conduits for influence. Fashion campaigns and runway shows possess the ability to mold public opinion and
perceptions globally, providing an alternative approach to diplomacy when traditional channels are met with
skepticism. The universal language of fashion fosters unity, connection, and understanding, resonating with soft
power principles that embrace cultural richness and harmony on a global stage. It's diplomacy, wrapped in the
elegance of fabric and design, a bridge that transcends geography and time.
Whilst collaboration from the branding and marketing perspective for the fashion industry is well documented, little is known about the knowledge collaboration (KC) of fashion designers, and how information and communication technology (ICT) is involved within their Communities of Practice (CoPs). This paper proposes an a priori conceptual model to enable the examination of KC among fashion designers within their CoPs. It aims to interlink the concepts of KC, CoPs, and ICT to understand fashion designers in their social learning reality. In that regard, the a priori conceptual model addresses three broad research questions: 1) How do fashion designers collaborate? 2) How do they participate within their professional communities? And 3) Does ICT play a role? The concepts used in the a priori conceptual model will be interlinked with specific indicators extracted from past studies. Since past studies had not focused on this area of research before, future studies can benefit from the a priori conceptual model by applying it to examine KC within CoPs of fashion designers or other groups.
Toplulukların yaşayış biçimlerinin şekillenmesinde yadsınamaz biçimde etkili bir unsur olduğu bilinen gelenek, tarih boyunca çeşitli şekillerde anlamlandırılmış ve konumlandırılmıştır. Tarihsel süreçte değişim gösteren gelenek günümüzde düşünürlerin, yazarların, sanatçı ve tasarımcıların başvuru kaynaklarından biri olmakta, sanat ve edebiyat gibi alanların yanı sıra moda tasarımcıları tarafından da tema olarak belirlenerek yorumlanmaktadır. Moda tasarımı açısından düşünüldüğünde, üzerine çeşitli tartışmalar gerçekleştirilen geleneğin yorumlanması konusu, ülkelerin ulusal moda kimlikleri açısından da önemini ve güncelliğini koru-maktadır. Bugün geniş bir ekonomik pazarı elinde bulunduran moda sektörünün daima değişikliğe olan ihtiyacı neticesinde farklı kültürlere ait geleneklerin kimi zaman özgün haline yakın, kimi zaman soyut dışavurumcu bir yaklaşımla moda tasarımında kullanıldığı gözlemlenmektedir. Moda tasarımcılarının, değişikliğe olan ihtiyaca yanıt vermek ve moda pazarında yer almak için geleneksel ögelere tasarımlarında yer vermesi dikkat çekicidir. Moda tasarımında geleneğin yorumlanmasının, tasarımcıların tanınırlık sağlamasında, ülkelerinin ulusal moda kimliklerinin gelişmesinde ve geleneksel kültürün farklı ortamlarda görünürlük kazanmasında etkili olduğu anlaşılmaktadır. Bu bağlamda, çalışmanın amacı geleneğin moda tasarımında nasıl yorumlandığına ve geleneğin yorumlanmasının ülkelerin ulusal moda kimlikleri üzerinde nasıl etki gösterdiğine dair bir analiz yapmaktır. Çalışma verileri; gelenek, moda tasarımı, geleneğin yorumlanması, ulusal kimlik, ulusal moda kavramlarını ve bu kavramlarla ilişkili tanımları içeren alan yazın taraması yapılarak elde edilmiştir. Çalışma kapsamında, kültürün konularından biri olan gelenek kavramı alan yazın taramasından tespit edilen yaklaşımlarla irdelenmiş ve kavramın toplumlar için ifade ettiği anlamın çeşitli disiplinlerdeki tanımı incelenmiştir. Bu bağlamda geleneğin nitelikleri ile sanat ve dil bilim gibi alanlarda ele alınışının etkileri hakkındaki fikirlere yer verilmiştir. Moda tasarımında geleneğin yorumlanmasının ulusal moda kimliği ile ilişkisi, ulusal moda olgusu üzerinden kısaca ele alınmıştır. Çalışma kapsamında, 1980'li yıllarda uluslararası moda sahnesinde alışılmadık tarzlarıyla kendilerine yer edinen Japon moda tasarımcılarının geleneği yorumlama biçimleri ve bu durumun Japon ulusal moda kimliğine olan etkileri üzerinden yola çıkılmıştır. Avrupa moda sahnesini geleneği yorumlama üsluplarıyla etkileyen Japon tasarımcılar üzerinden Faslı, Hollandalı, Güney Afrikalı ve Çinli moda tasarımcılarının da geleneği yorumlama biçimlerine ve bu yorumların tasarımcıların kendi ulusal moda kimliklerine olan etkilerinin nasıl gerçekleştiğine dair bir çerçeve çizilmeye çalışılmış, elde edilen veriler betimsel yöntemle analiz edilmiştir. Ayrıca modanın tarihsel süreçteki dönüşümüne bağlı olarak, tasarımcıların geleneksel kültüre yaklaşımlarında ve geleneği yorumlama biçimlerinde değişim gösterdiklerine değinilerek ulusal modalarının şekillenmesine doğrudan katkıda bulunabildikleri vurgulanmış ve ulusal moda kimliğinin şekillenmesinde geleneksel kültürün etkisi üzerinde durulmuştur. Çalışmanın sonucunda moda tasarımında geleneğin yorumlanmasının, tasarımcıların imajlarına ve ülkelerin moda kimliklerine yaptığı etkilerin yanında geleneğin kendisi üzerinde de etkili olduğu kanaatine varılmıştır. Bu bağlamda geleneğin niteliklerinden yola çıkılarak moda tasarımında geleneğin yorumlanmasının gelenekle ilgili söylemleri haklı çıkardığına yönelik fikirler tartışma bölümünde sunulmuştur.
Anahtar Kelimeler: Gelenek, tasarım, moda tasarımı, ulusal moda, ulusal moda kimliği.
Este artigo examina o papel da imprensa na divulgação da moda e a natureza transnacional da revista de moda desde o seu surgimento. Embora o objetivo das primeiras revistas de moda fosse promover a moda parisiense e o domínio cultural francês em todo o mundo, elas gradualmente se transformaram em veículos para as transferências culturais em diferentes direções. As revistas de moda são dotadas de função cultural e de valor econômico e, mais do que o livro, são um produto de um processo artístico, gráfico e intelectual que ocorre em diferentes espaços. Este artigo propõe uma metodologia para examinar como a transferência, adaptação e consolidação de um conceito abstrato – a moda – se materializa na mídia impressa, tendo como ponto de partida o vestuário-escrito e vestuário-imagem, de Barthes, para criar uma tipologia para a variedade de textos e imagens encontrados em uma revista de moda.
The papers assembled in this forum examine the Geographies of Fashion and Style through texts, visual images, material objects and processes of growing and making, as lived experiences and performative practices and, crucially, as concepts and practices that travel and mutate over time and place. In this introduction, we chart the Eurocentric cultural episteme of the fashion industry and fashion studies and dismantle it by drawing on, and out, globally-orientated and decentered approaches to the study of fashion and style. Our contribution to debates on fashion and style is to draw out five impulses arising at the intersections of geography and fashion studies and which our collection of papers brings to the fore: Theorizing, Queering, Decolonizing, Ecologizing, and Curating. In doing so, our introduction foregrounds the significance of fashion and style as sites of (micro) political problems and potentials, and is a call and a framework through which to extend and take seriously the diverse processes of fashion and style as sentient to the broader themes and scholarship of concern in the geohumanities.
This paper describes the strategies of the French fashion business to authenticate its designs and brands under the challenge of mass-produced ready-to-wear clothing by US manufacturers. It focuses on the 1950s as a pivotal moment in fashion history, as the older model of elite fashion ‘trickling down’ to the lower strata of garment production made way for a multiplicity of trendsetters and a democratisation of fashion. Starting from a situation in which New York-based manufacturers produced low-price copies of Parisian designs, the paper analyses the various strategies of French fashion producers to get control over the exploitation of their designs. As attempts to secure international copyright for fashion designs failed, Parisian designers brought out tie-in products and boutique lines and managed to shift the authenticity of their work from the design to the brand.
Mode ist ein multidimensionales Phänomen und kann aus verschiedenen Blickwinkeln analysiert werden. Sowohl im Alltag als auch im akademischen Kontext wird sie jedoch vergleichsweise selten als politisches Phänomen gesehen. Dennoch können sowohl die Mode als auch die Kleidung Mittel zur Bildung, zur Aufrechterhaltung oder zur Umgestaltung von Relationen von Macht, zur (Re-)Affirmation bestehender Gesellschaftsstrukturen oder zur Artikulation individueller und kollektiver Identitäten sein. Die Rhetorik der Kleidung wird bisweilen als Form des politischen Protests und der Forderung nach gesellschaftlicher Anhörung sowie Anerkennung genutzt, die Kleidungspraktiken können verboten, befohlen, in Frage gestellt oder fetischisiert werden, sie beeinflussen die Produktionsform und die Entwicklung der Industrie, während öffentliche Debatten zu Kleidungspraktiken nicht selten zu gesellschaftlichen Echos fuhren. Dabei ist die politische Bedeutung einer Kleidung nicht für immer gegeben, weil die mit ihr einhergehende Bedeutung sich durch grosse Instabilität charakterisiert. Thema des vorliegenden Artikels sind die wichtigsten Kontexte zur Verbindung von Mode und Politik im akademischen Modediskurs. Es werden zeitgenössische Forschungstexte analysiert, die sich mit dem politischen Charakter von Mode und Kleidung befassen. Hauptziel des Artikels ist, eine Differenzierung zwischen dem "politischen Charakter von Mode" und der "Politisierung von Kleidung" einzuführen, die es ermöglicht, das Wissen über Mode als politischer Kraft zu kategorisieren. Die kritische Analyse des Forschungsstands der gegenwärtigen fashion studies zeigt darüber hinaus weitere Forschungsrichtungen der besprochenen Thematik auf.
Shanghai has become an economic center of China and the world, as well as a place where young urbanites connect the dots between its mythical past and its promising future. A city of influence with a growing art scene, striving creative industries, and millions of avid tech-savvy consumers, Shanghai is also a fashion capital in the making. The Gen Z, or digital natives born after the mid-1990s, are at the forefront of social, economic, and cultural transformations. Their behaviors, aspirations, and mobile identities are increasingly driving the worlds of fashion and luxury, in China and globally. This chapter examines Shanghai fashion through three dimensions: the physical, digital, and social dimensions. The fusion of physical and virtual places in a phygital world, and soon in the metaverse, combine with the fast-moving sociocultural environment of an emerging country to create opportunities and challenges for the fashion industry.KeywordsChinaShanghaiCreative and cultural industriesFashionGen ZIdentityTechnology
Within the introduction from Carmen Dexl/Silvia Gerlsbeck:
"The second article in this section by Melanie Haller continues the focus on transcultural knowledge exchange in a discussion of the ‘pioneering’ status that a contemporary fashion phenomenon, the ‘meggings’, might claim for the formation of more diverse body images and constructions of masculine subjectivities. This contribution thus explicates the relevancy of cultural formations for the making of social realities. Taking a diachronic approach from within the field of body sociology and Fashion Theory, she traces the emergence of the ‘meggings’fashion within the larger field of (men’s) fashion and relates it to shifting notions of (hegemonic) masculinity at different historical and cultural moments. As her contribution shows, tight-fitting legwearfashion for men has undergone a shift in signification and, since the twentieth century, been associated with anti-fashion discourses and ‘othered’ forms of masculinity, thus counter-hegemonically oriented and indicative of ‘new’ methods of fashioning the male body. By situating the meggings within a transcultural framework, with a particular focus on the influential role of different style cultures on its recent popularization, Haller’s fashion-sociological approach provides an important addition to this volume’s interest in the mediating power of cultural phenomena." (Dexl/Gerlsbeck 2022, S. 19)
Melanie Haller’s topical inquiry into the phenomenon of the ‘meggings’ traces its emergence within the history of men’s fashion and relates it to shifting notions of masculinity at different historical and cultural moments—thus emphasizing its performative quality. While skin-tight pants and the emphasis on men’s legs constituted a symbol of hegemonic masculinity up until 1850, the visibility of men’s legs has then undergone shifts that signal the proliferation of ‘new’ body images and concepts of masculinity, such as counter-cultural masculinities of the 1960s and the rise of African-American style cultures during the 1970s and 1980s, which Haller reads within the context of so-called ‘anti-fashion’ discourses. Her contribution also offers a look at the meggings in contemporary fashion culture, thereby outlining its transnational history and formations.
Tarihsel süreçte COVID-19 hastalığına benzer pandemilerin ortaya
çıktığı bilinmektedir. Bu pandemilerin bir kısmına insanoğlunun
çalışmaları ve bilimsel gelişmeler neticesinde çare bulunmuştur. Bir
kısmı ise mutasyona uğrayarak yok olmuştur. İnsandan insana bulaş
riskinin yüksek olduğu pandemilerde ya hastalık yok olana kadar ya da
ilaç bulunana kadar kentsel alanlarda tedbirlere yönelik uygulamalar
yürütülmektedir Tarihte yaşanan ilk büyük salgın
hastalık M.Ö. 429-426 yılları arasında Yunanistan’da görülen Atina
Vebasıdır. Salgın Atina’da dini inanca ve kanunlara bağlılığın azalmasıyla
sonuçlanan ciddi sonuçlar doğurmuştur
Ključne riječi: prostor, odjevna kompozicija, krinolina, kimono, Pierre Cardin SAŽETAK: Prostor se na modni dizajn odnosi na dva načina. Odnosi se na praznu zonu ili "zrak" koji okružuje ljudsku formu, što je beskrajno intrigantno za modne dizajnere. To je trodimenzionalna praznina koja je šuplja ali ima zapreminu. Ljudska forma se može posmatrati kao da ima prostor u nekoliko pravaca: naprijed, nazad, sa strane i gore/dole. Prostor može postojati i kao dvodimenzionalna praznina. Kao takav, ima svoje granice, ali se za razliku od oblika i površine, prostire. Posjeduje potencijal da postane nešto drugo. U ovom smislu, prostor je sastavni dio unutrašnjosti kreacije. Rad se bazira na uticaju prostora u kreiranju savremenih odjevnih kreacija. Propituje historijske aspekte odjeće i ulogu prostora kao likovnog elementa koji učestvuje u građenju prepoznatljive odjevne kompozicije. Analizira primjere krinoline, panniersa, te radove japanskih dizajnera koji su krajem XX vijeka dizajnirali u duhu kimona (Rei Kawakubo, Issey Miyake). Rad objašnjava razliku između pozitivnog i negativnog prostora na primjerima francuskog dizajnera Pierra Cardina te modifikaciju izgleda ljudske figure i naglašavanje prirodnih krivulja manipulacijom prostora. 1. UVOD Ako određeni prostor omeđimo nekom materijalnom ljuskom, tada smo taj prostor oblikovali, izdvojili iz ostalog prostora, odnosno, stvorili određenu formu u prostoru. Prostor oblikujemo raznim materijalnim oblicima te tako nastaju volumeni u prostoru koji su njegov sastavni dio. U likovnim umjetnostima prostor se veže uz prostorno-plastičko oblikovanje: kiparstvo i arhitekturu. Ako pojam prostora vežemo uz plohu onda govorimo o iluziji, prividu prostora na plohi modelacijom ili perspektivama. Na plohi se može oblikovati tako da se poštuje dvodimenzionalni karakter plohe, tj. da se oblikuje plošnim oblicima, koji se nazivaju likovi, ili da na plohi uz primjenu raznih perspektivnih predočavanja dobijemo privid trodimenzionalnosti odnosno privid prostora. Privid trodimenzionalnog prostora na dvodimenzionalnoj plohi ostvaruje se pomoću raznih načina prikazivanja. Takav način zove se perspektiva (lat.promatrati, vidjeti, razabrati). Prostor je prazna zona ili opseg. Kao i oblik, na modni dizajn se odnosi na dva načina. Odnosi se na praznu zonu ili "zrak" koji okružuje ljudsku formu, što je beskrajno intrigantno za modne dizajnere. To je trodimenzionalna praznina koja je šuplja ali ima zapreminu. Ljudska forma može se posmatrati kao da ima prostor u nekoliko pravaca: naprijed, nazad, sa strane i gore/dolje. Prostor može postojati i kao dvodimenzionalna praznina. Kao takav, ima svoje granice, ali se za razliku od oblika i površine, prostire. Posjeduje potencijal da postane nešto drugo. U ovom smislu, prostor je sastavni dio unutrašnjosti kreacije. [1]
We trace the history of Gabrielle “Coco” Chanel’s entrepreneurial journey as a fashion designer from her early years as an outsider (early 1900s) to her rise to success and consecration as an icon within the French haute couture field (early 1930s)—a field controlled by powerful insiders. Our study sheds light on the social forces and historical circumstances underlying an outsider’s journey from the margins of an established field to its core. Drawing on unique historical material, we develop a novel process view that highlights the shifting influence of forces operating at different levels in the accumulation, deployment, and conversion of various forms of capital (i.e., human, social, economic, and symbolic) that outsiders need to promote their ideas. In particular, our multilevel perspective accounts simultaneously for the individual’s efforts to push forward these ideas (micro-level), as well as the audience dynamics (meso-level) and exogenous forces (macro-level) that shape their recognition. Chanel’s historical case analysis also affords a window into one of the first female entrepreneurs with global impact in business history, with the added challenge of establishing herself in what at the time was a male-dominated and mature field.
Exoticization and internationalization in the cultural history of the fashion district of Harajuku
In my research on the significance of the Tokyo district Harajuku for the fashion scene, the discrepancy between its limited dimensions of barely 2 square kilometers and its great national and international relevance in pop culture is striking. If one tries to approach its special logic, historical origins and attempts to understand its influence, it is this contrast that distinguishes the district from the rest of Tokyo.
Throughout its development, the special role of the international is one of the red threads that emerges. Whether it is direct contact with the foreign, its »authentic« representation or exoticizing imagination, in any case this construct is an effective element in shaping the identity of this neighborhood.
Today, Harajuku is one of the places in Japan that is in the center of international attention. Ascriptions that praise it as extraordinary, creative and individual have a directly visible influence on what is on offer: The Kawaii Monster Cafe, for example, projects the expectations of international guests back into the neighborhood, creating a brightly colored fantasy environment on site.
On the other hand, this international attention also has less visible effects on the self-perception of the local fashion scene. From the 1970s onwards, a self-confident scene developed here, creating local networks and career paths on a par with those of other fashion cities.
Based on interviews with formative actors from Harajuku’s history, media content and observations made on site, my article develops a brief cultural history of Harajuku from the post-war period onwards, with special attention to the complex meanings of exoticization and internationalization in this context.
In the 21st century, translation studies has expanded its boundaries and paradigms so that it is now possible to use its tools and methods to research the communication of fashion at textual as well as material levels, as inter-semiotic and cultural translation. Fashion communication, from the perspective of post translation studies, can be viewed as a process of cultural translation with visual symbols as its main text form, visual rhetoric as its core meaning system and a visual designer as its translator. At the intersection of translation, communication and fashion studies, the article takes Kenzo’s most successful “tiger icon” as the main research object, through the analysis of different forms of visual text structures throughout the whole process of fashion communication, to explore the semiotic transformation process and strategy of the “tiger icon” by means of visual rhetoric theories.
Fashion” and “Belgium” were not always considered two matching words. But in contemporary discourses surrounding fashion, Belgian fashion has become a widely known concept imbued with specific meanings. Indeed, starting from the late 1980s, the so-called “Antwerp Six” put Belgian fashion under the spotlight with a new way of conceiving fashion in its relationship with body and identity. A conceptual approach that has defined the city of Antwerp, inspiring more than three generations of professionals, including designers, stylists, photographers and make-up artists that set the rules inside the fashion world, providing new standards and pushing the aesthetic boundaries. Consequently, the aim of this essay is to retrace the history of this relatively new scene and to point out its evolution from a mostly invisible local scene to a worldwide know fashion city, still continuing to influence the fashion system today.
The existing literature on the evolution of the Antwerp fashion scene is mainly concerned with the development of the Fashion Academy pedagogy from tradition to avant-garde, the role of the famous ‘Antwerp Six’ in putting the city under the international fashion spotlight, and the making of a specific cultural heritage which up to today continues to inspire young fashion designers. However, less has been said about its contribution to the redefinition of gender, and more specifically of masculinity. Consequently, the aim of the article is to contextualize Antwerp as a site for ‘creative resistance’ against the middle-class ideas of fashion, body and identity through the figure of Belgian designer Walter Van Beirendonck, articulating his contribution in deconstructing the normative understanding of the relationship between fashion and masculinity, providing a new metaphor to think about the process of body fashioning in everyday life. Therefore, Van Beirendonck’s creative practices as a sartorial form of resistance against the bourgeois understanding of masculinity and sexuality will be investigated through a qualitative analysis of visual and audio-visual archive materials generously provided by MoMu, the Antwerp fashion museum, showing how his creations are successful in stretching bodily borders and forming non-conventional masculinities. Far from offering an exhaustive overview of the field, the article constitutes a starting point for the understanding of a particular way of seeing the relationship between fashion, body and gender identity in the Antwerp fashion scene. Furthermore, it aims to stress the urgency to analyse the relevance of fashion in tackling issues of masculinity and the clothed body.
As an approach for redefining relations between text and its meaning, the idea of deconstruction appeared in the works of philosopher Jacques Derrida. This philosophical concept received the reflection in the modern architecture: it provokes a denial of stereotypes about the building's forms and functions, a conflict of the architectural elements' dislocation. Some fashion designers use a deconstruction method to destroy fashion standards and fashion stereotypes. Particularly, Belgian designer Martin Margiela questions the traditional understanding of fashion and fashion beauty and rethinks the relations between fashion forms, functions, and ideology constructed by clothing. This paper provides an analysis of the deconstructionist fashion techniques in the case of Maison Margiela fashion house. By performing the conflicting nature of fashion garments, Margiela constructs the concept of universal, basic clothes but, at the same time, very anonymous, free of labels, tags, and social judgments. This fashion of deconstruction articulates today the next level of relationship between consumers and fashion garments that is not only about standardized functions but expanded values and interpretations.
Fashion is a place of production of meaning in which social values are concretized plastically, enabling the transmission of the most varied and often antagonistic discourses. In this way several social groups are constituted with contesting narratives or reaffirming hegemonic values and tendencies, confirmed plastically in the adopted dress systems. In the wake of this thought we aim to analyze the discursive resources used by the collective Estileras on its page in a social media. This collective is positioned as a “place” for experimentation and transgression of dress norms sanctioned by contemporary society. The theoretical framework of Discursive Semiotics, developments in sociosemiotics and Michel Foucault's notions of power will be adopted in order to account for the complexity of the verb-visual discourses exposed by the collective.
According to production of culture theory, small organizations are more likely to produce innovative cultural products than large organizations; large organizations constitute oligopolies that control their markets and remain innovative by coopting smaller organizations, along with their creative talent. A study of the French luxury fashion market shows that a few large companies controlled by conglomerates dominate the market in terms of sales but have little influence on styles. Rather than coopting smaller firms, large firms use the myth of the designer as artist and connoisseur to enhance the saleability of products other than clothes, although the designer is increasingly an employe rather than an owner or a manager. Whether small firms influence styles depends on economic conditions that affect their capacity to compete with larger firms. A factor that has been ignored by production of culture theory, the increased cost of entry for new firms due to globalization of markets, inhibits their capacity for innovation and survival. Examination of rankings of fashion innovativeness by fashion experts over a period of seventeen years showed that, at the beginning of the period, when costs of entry were relatively low and the number of competitors was relatively small, small firms were able to achieve recognition for their innovations. By the end of the period, the same small firms, now grown to medium-size firms, were still influential, while new small firms, competing with larger firms in a market where costs of entry were high, were less likely to be perceived as innovative and may actually have been less innovative, since their precarious financial situation precluded experimentation. Rather than coopting smaller firms, large firms benefited from the global expansion of their market to sell products other than fashionable clothing. Successful new firms were generally foreign and well-financed.
At a time when a pile of bricks is displayed in a museum, when music is composed for performance underwater, and the boundaries between popular and fine art are fluid, conventional understandings of art are strained in describing what art is, what it includes or excludes, whether and how it should be evaluated, and what importance should be assigned the arts in society. In this book, Vera Zolberg examines diverse theoretical approaches to the study of the arts. Ranging over humanistic and social scientific views representing a variety of scholarly traditions, American and European, she then develops a sociological approach that evaluates the institutional, economic, and political influences on the creation of art, while also affirming the importance of the question of artistic quality. The author examines the arts in the social contexts in which people become artists, the institutions in which their careers develop, the supports and pressures they face, the publics they need to please, and the political forces with which they must contend. Particular subjects covered include the process by which works are created and 're-created' at different times, with changed meanings, and for new social uses; the role of the audience in the realization of artistic experiences; the social consequences of taste preferences; the reasons for change in artistic styles and for the coexistence of many art forms and styles.
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The Aesthetics and Politics of Japanese Identity in the Fashion Industry
- Dorienne Kondo
Tokyo: Yomiuri Shimbun
- Kei Mori