"The impact that non Western

designers can have on the globalized market was demonstrated by

the huge success of Japanese designers who showed in Paris from

the late 1970s and early 1980s. At this time, it was still necessary for

designers to show within an established fashion week to gain

sufficient publicity and exposure to international store buyers."

"Japanese designers such as Yohji Yamamoto, Rei Kawakubo of

Comme des Garcons, Kenzo, and Issey Miyake’s work shocked the

Western fashion world into the realization that high fashion could

emanate from beyond its confines. Importantly, Japanese fashion

also provided an alternative vision of body and fabric and the

dynamic between them."

"Issey Miyake, for example, produced clothes that overturned

Western ideals of beauty and form and presented tightly pleated

textiles sculpted into points that pulled out from the figure. He

recreated femininity in line with architectural notions of space,

rather than cutting fabric in towards the natural form. His clothes

often swept upwards, and jutted out to emphasize the contrast

between body and garment."

 

A few sleeveless jackets and a pair of trousers that survive at Shadows on the Têche in Louisiana were handed down in the family as examples of clothing made entirely by slaves, who spun the yarn, wove the fabric, and stitched the garments. The garments, sized for a boy perhaps 10-15 years of age, are unusual—perhaps unique—survivals (Fig. 5).[13]

from

 

"In subsequent decades, youth culture presented a continued

disruption to social codes of behaviour and display. In Britain,

class played a significant part in shaping subculture’s nature. In the

1960s, Mods aped middle class respectability in neat, sharp

suits, while Skinheads toughened up this style to assert a strong

working class identity, based on workwear. In each case, youth

style was driven by a combination of its members’ search for

excitement and devotion to particular music styles. In the early

21st century, a more diffuse group within working, and

unemployed, youth emerged. ‘Chavs’ were condemned as tasteless,

for their unselfconscious flaunting of obvious branding and

disregard for middle class ideals of style. Media coverage exposed

embedded class prejudice, as the term quickly became associated

with criminality amongst teenagers on council estates. Chavs’

aggressive sportswear styles were connected to negative

stereotypes of the working class, as an easily grasped visible

incarnation of inner city lawlessness"

 

"Westwood’s design and retailing style were part of the fluidity of

subculture. Styles emerged and shifted as the music, street, and art

scene they were connected with moved on. This flexibility created

an exciting sense of community and currency around her store,

promoted by the DIY ethos of subcultures. As with Quant in the

1960s, it demonstrated how like minded shops could group

together to generate business and consolidate the fashion

reputation of an area. In the early 21st century, Alphabet City in

New York saw a similar constellation of designer makers opening

up in close proximity."

 

"As economies recovered during the 1950s, new initiatives began

to develop. One of the key examples of this was the growth of

designer owner boutiques that appeared in London by the end of

the decade. These demonstrated how fashion could evolve from

small scale entrepreneurs who understood their audience and the

kind of clothes they wanted to wear. In 1955, for example, Mary

Quant was prompted to open Bazaar on London’s King’s Road

by her own frustration with the contemporary fashion scene"

 

In wester society

"public sphere dominated by men"

 

tableaux vivants

A tableau vivant, French for "living picture", is a static scene containing one or more actors or models. They are stationary and silent, usually in costume, carefully posed, with props and/or scenery, and may be theatrically lit. It thus combines aspects of theatre and the visual arts.

The 1969 film, The Color of Pomegranates directed by Sergei Parajanov presents a loose biography of the Armenian poet Sayat Nova in a series of tableaux vivants of Armenian costume, embroidery and religious rituals depicting scenes and verses from the poet's life.

 

"Although they might seem unplanned, such shops are part of

Comme des Garc¸ons’ strategy to remain at the forefront of fashion

retailing. Some of the stores remain open for only a few days,

others a year; none are advertised, other than through emails to

existing customers, perhaps a few posters in the local area, and,

crucially, through word of mouth. These processes mimic the

effects of a subculture, reaching out to opinion makers within an

inner circle already aware of the label’s status in the fashion

industry as pioneers of avant garde style and design. The guerrilla

store creates an atmosphere of exclusivity, intrigue, and excitement

around its products. It promotes the feeling that its visitors

12. The interior of Comme des Garc¸ons’ 2008 guerrilla store in

Warsaw is designed to look like a modernist furniture exhibition

68 Fashion

have privileged knowledge, and that they are taking part in a

semi covert event by shopping there. It therefore plays into the key

elements of early 21st century high fashion consumerism, by

emphasizing desire, lifestyle, and identity. As such, the store, again

like street cultures, suggests individuality yet membership of a

group. It advocates shopping as an experience, in this case akin to

visiting a small art gallery. Importantly, it builds the brand in a

manner that is in keeping with its intellectual ethos. It apparently

rejects the excesses and decadence of much fashion advertising

and retailing, while remaining a shrewd marketing device to target

its core audience, as well as luring in the curious passer by."

 

"If young designers gain

too much notoriety very early in their careers, before they have

gained sufficient financial backing and manufacturing capability

to fulfil orders, it can be hard for them to develop their businesses.

However, press coverage is viewed as crucial to building a profile

and, ultimately, to finding economic investment from a reliable

backer. This contradictory situation has particularly plagued

London Fashion Week, where art schools such as Central Saint

Martins School of Art and Design regularly produce talented

designers, but lack of infrastructure and government investment

leaves them vulnerable."

Mass production is the manufacturing of large quantities of standardized products, often using assembly lines or automation technology. Mass production facilitates the efficient production of a large number of similar products.

Mass production is also referred to as flow production, repetitive flow production, series production, or serial production.

In mass production, mechanization is used to achieve high volume, detailed organization of material flow, careful control of quality standards, and division of labor. 

POSITIVE

Product Standards

Certain production and manufacturing businesses adhere to agency standards to ensure all products of the same category are created to the same specifications between different facilities or companies.

For example, the wood products industry participates in international standards to maintain consistency of like products. This can include references to acceptable product sizing, water-solubility, grading, and composite properties. These standards ensure that when a person goes to a retail store to purchase an item, such as a two-by-four, the sizing is consistent regardless of the store visited or the product manufacturer.

POSITIVE

VJing

V-Jing is a broad designation for real-time visual performance. Characteristics of V-Jing are the creation or manipulation of imagery in real-time through technological mediation and for an audience, in synchronization to music. 

[real-time imagery through technological mediation for an audience in synchronization to music]

V-Jing often takes place at events such as concerts, nightclubs, music festivals and sometimes in combination with other performative arts. This results in a live multimedia performance that can include music, actors and dancers. The term V-Jing became popular in its association with MTV's Video Jockey but its origins date back to the New York club scene of the 70s. In both situations V-Jing is the manipulation or selection of visuals, the same way DJing is a selection and manipulation of audio.

One of the key elements in the practice of V-Jing is the real-time mix of content from a "library of media", on storage media such as VHS tapes or DVDs, video and still image files on computer hard drives, live camera input, or from computer generated visuals. In addition to the selection of media, V-Jing mostly implies real-time processing of the visual material. The term is also used to describe the performative use of generative software, although the word "becomes dubious (...) since no video is being mixed".

[real-time processing of the visual material]

[live camera input, or from computer generated visuals]

[performative use of generative software]

 

 

*Rollei Black Magic Gelatin

*Cyanotype Set

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*Schadograph

*Photogram

*Rayographs