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New Technology
Currently moving towards a technology driven world, technology is now involved in textile manufacturing processes. Particularly with the new introduction to 3D printing technology. This blog post will explore the effects of technology, mainly 3D printing, and how it is affecting us individually and environmentally. Recently technology has been getting more and more involved with Fashion and Textiles. Many famous designers are now exploring and using technology to create their designs like Iris Van Herpen who made a huge amount of publicity from her 3D printed garments that were modelled in Paris Fashion Week in 2013. This emphasises the point of technology influencing the current and future fashion. There are numerous amount of advantages from using 3D printing for designers. Which include the reduced amount of time used to create the clothing; the software used by the printer will automatically generate a pattern, cut the pieces and construct the garment. Even though this is more time efficient it is taking the personal and hand rendered touch from fashion and textiles. As well as time, there is a reduction in the amount of waste there is when creating the garment. There is no more textile waste, which affects the environment positively meaning fashion and textiles will become more sustainable. 3D printing enables the construction of thousands of forms that are both linked together to create other substances that is structural. Even though the printing garments are structural it still allows some flexibility and movement when worn by models. Suggestively 3D printing enables designers to create one or a bespoke piece of clothing, which is specifically made to the model’s body type. Fitting the individuals to the exact body measurements at home or in a store. This means that there will be no fashion or textile waste left when producing these garments. 3D printing “can be seen as revolutionary as the sewing machine” which was stated by Andrew Bolton. This suggests that the sewing machine was introduced when technology was peaked and developed and now that technology and society has developed further the 3D printer will make just as much of an impact as the sewing machine. In response to this research on 3D printing we were organised into groups to create our own brands. Ours included the 3D printer and how it would apply to a brand. We organised the group to concentrate on different areas such as logo design, name design and customer profiles. We all decided to call the group AXIS we all felt like this name reflected the urge and need to push 3D printing into the fashion industry. We wanted it to reflect 3D printing the geometric like shaping of the printed garments. The logo followed suit, the structural lines, almost architectural, was aiming to show 3D printing and its future developments. Society is changing, therefore the urgency for new technology such as the 3D printer is necessary and significant. The urgency for fashion and textiles to take more of a sustainable approach when creating clothes is now easy and sustainable with the 3D printer.
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Fashion and Art
Within in this blog post in response to the lecture, I will explore and discuss the amalgamation of Fashion and Art. As well as discuss further about how the two art forms managed to maintain a balance and use inspiration from one to the other. Both Fashion and Art construct ideas, beliefs, perceptions and concepts within their bodies of work. Making fashion just as conceptual as art, as seen in the "Blank Canvas" dress by Alexander Mcqueen. By "creating art on the runway" in his Summer and Spring 1999 show, where a model stood in a strapless dress, cotton dress as a "blank canvas" and rotated while she was "attacked" by black and yellow paint. The "dance" between the model and the robots, the visual designer emphasising the stregthening link between fashion and art. The use of the robots resembling art and the model wearing fashion obviously symbolising fashion. When we question what is art, we imagine the artwork being in an art gallery, yet the "blank canvas" dress is more well known than some artwork in galleries. Fashion is questioning the barriers between what is art and what is fashion. However, it is said that Punk fashion broke the barrier between the two art forms. By their use of identity and art combined to make fashion, their use of creativity to create artwork and to create an indentity for themselves. It is argued that fashion is not art yet fashion is more like art than ever before, its recent use of expression and conceptual pieces mirrors art. Johnathan Jones stated that "today's soft boarder between Art and Fashion, would not come at any suprise from Artist's in the past". Artists have always been fascinated by fashion and vice versa, many famous fashion deisgners have created their designs using direct inspiration from art and previous artists. Ronaldus Shamask reinterpreted painter Piet Monderain's minimalostic and abstract painting. Ronaldus Shamask used the abstract like pattern from the painting and applied it to the numerous of dresses. This direct use of inspiration emphasises the relationship between fashion and art. In response to this blog post, we created a pattern that could be printed onto a garment. Within my pair, we created a abstract like faces across the shirt, the bold colours repersented something that is Fine Art like while being pressed onto a shape of a garment. The piece is wearable and flexible but acts almost like a painting with the print on the front of the shirt. This emphasises the little differences between Fashion and Art, and how more and more the two are blurring. To conclude Fashion and Art are similar, their same use of expression and to protray concepts. The two art forms express freely creativity, colour and composition and should be viewed as equal arts. References Singer, O. (2017). Art and Fashion: The Ultimate Collaborations. [online] AnOther. Available at: http://www.anothermag.com/fashion-beauty/7918/art-and-fashion-the-ultimate-collaborations theFashionSpot. (2017). Artist and Designer Collaborations: When Fashion and Art Join Forces - theFashionSpot. [online] Available at: http://www.theukfashionspot.co.uk/runway-news/717073-artist-and-designer-collaborations/#/slide/1 We Heart. (2017). With art and fashion collaborating like never before, we look at some of history's most important crossovers.... [online] Available at: https://www.we-heart.com/2015/09/21/history-art-and-fashion/
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Architecture is becoming a leading influence for fashion designer’s collections. Fashion and Architecture reflects upon the same culture both fashion and architecture are developing to keep up with changes in society. Architecture and Fashion are the same, the physical functioning of them both is to hide, protect and shelter the human body from its surrounding environments. The two art forms is the matter of proportion, the scale of the two arts and how they both create structures and shapes within their bodies. The inspiration in design has developed since Architecture has influenced fashion design. The design features on garments include space, volume, structure and textures which are all direct references to contemporary Architecture. The design features included in contemporary fashion like pleating and ruffling are regards to current fashion desgn. As seen in the Delpozo Autumn and Winter 2016 collection, the designer takes direct inspiration from the metallic-like lines in the building and mirrors and then applies it to the dress deign and pattern. The arches in the architecture creates a geometric pattern which is then applied to the Delpozo dress. The design also mirrors a similar, neutral colour palette existing already in the Architecture then applied to fashion. Following the work of Delpozo, we took inspiration from the Leeds College of Art building. Drawing areas of the buildings that we were drawn to different textures and structures across the building. any detailing from the Leeds College of Art building we emphasised the geometric lines with the structuring overall of the building. Then by using these illustrations of the LCA building allowed us to individually developed them into design ideas. I personally wanted to focus on designing specifically for shaping and silhouette of the garment, created unusual and architectual inspired garments. Within in a group, comparing our illustrations and finally combining our design feautures and ideas into a final design. Together we were then set a task of creating our design from cardboard, to take our two dimensional illustrative design to a three dimensional structured garment. Teh cardboard is not made to be able to function but to emphasise and highlight the structural shape to the design. The finished garment is unwearable fashion, the hard cardboard lies uncomfortably on the body which then emphasises the structured shaping of the cardboard. After we completed the garment we then made a short film to show the significant link between Architecture and Fashion.
T Biblography Lucien, L. (2017). 9 Fashion Designers Tell AD How They Are Inspired by Architecture | Architectural Digest. [online] Architectural Digest. Available at: http://www.architecturaldigest.com/gallery/fashion-designers-architecture-inspiration Images, V., Sugar, C., Digital, I., Russia, T., Adidas, F., Asim, Z., Vogue, T., Grettve, S. and ThisHeartsOnFire, C. (2017). 10 Fashion Designers Influenced By Architecture | Highsnobiety. [online] Highsnobiety. Available at: http://www.highsnobiety.com/2016/06/01/fashion-designers-influenced-architecture/
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Collabration of Gender and Printing workshop.
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Examples of challenging society by associating male clothing on females.
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Gender in Fashion
Fashion trends are clothing styles is a significant aid of social construction if gender. Clothing is categorised in retail stores as being men’s clothing and women’s clothing, often are situated on different floors. The layout of the store emphasises the differences between the two genders. Clothing should not be imbued with directive gender values with directive gender values. It should be allowed for the individual to express themselves freely. We perceive qualities and characteristics as being specific to the gender, which is the same with garments. Physical strength is seen as being masculine, while portray emotional behaviour is seen as being feminine. This stereotypical view mirrors clothing; such as dresses are assumed to be worn by women, while pants are to be worn by men. Even though, society is accepting and understanding these changes in styles, they are constantly reminded the differences in clothing by retail shop floors(men’s floor and women’s floor). In the early twentieth century working women were seen and photographed in trousers by wearing their husbands’ civilian clothes to work in, emphasises the point that fashion should be considered as being a part of the social process of discrimination. Mainly because the hierarchy pyramid, where men were situated more towards the top of the pyramid. Dressing is an important and controllable way to communicate an individual’s position, class and economical status. Styles and dressing is influenced by dominant values, social attitudes and life status. Clothing communicated the social identity, by how the person would like to appear. Within my pair we wanted to challenge societies’ view of what individual’s can and cannot wear. Using a men’s fitted shirt, we wanted to challenge what society expects for a men’s shirt to feature. We added slight details around the neckline, the ruffling is something which can be seen as being quite feminine. As well as, cutting the sleeves off the garment to create a vest-like feature. We intended that the vest-like detail would highlight that it is appropriate for both genders. We wanted the added extras to contrast more with the masculine shirt and to compliment both the genders. Bibliography Allwood, E.H., Rasmussen, T. and Dazed (2016) Can we actually buy into fashion’s gender revolution? Available at: http://www.dazeddigital.com/fashion/article/30755/1/can-we-buy-into-fashions-gender-revolution Raza, H. (2017) ‘Fashion and gender roles’ Khrais, R. (2017) Blurring the gender lines in fashion. Available at: http://www.marketplace.org/2016/07/29/world/gender-neutral-clothes
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PRACTICAL RESPONSES TO SUSTAINABILTY WORKSHOP
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Sustainability - “Without compromising the ability for future generations.”
The trend of sustainable fashion is the goal create a system which can be supported indefinitely in terms of human impact on the environment and social responsibility. There has been a significant acceleration in consumption yet it could be argued that the process of fashion is still slow. From the time it requires to make crude oil that eventually becomes polyester, as well as the six months it takes for cotton to grow. However, the end processes of making; buying; and discarding of garments is environmentally worrying. The UK alone provides 350,000 tonnes of textile waste every year, due to a number of disregard for possessions. It is the result of ‘fast fashion’ the ability to buy affordable fashion which are low quality. After a short lifespan, three out of four garments will end up in landfill or incinerated this highlights the problems with fast fashion and more clothing being available. The sudden burst of social media influence upon the fashion world, has effected the top fast-fashion retailers by 9.7 percent. The harmful chemicals and pesticides used to increase the growth of cotton and wool is affecting both the environment and people; who are freely spraying these chemicals, detergents and toxins without the appropriate and protective gear. It is significant to think of who made the clothes as well as the environmental impact it has made. Such as the collapse of the textile factory, Rana Plaza in Bangladesh which killed 1,129 people while 2,500 injured people were rescued from the building. In response to this research we created a garment, using approximately one metre of fabric. Within in pairs we had the challenge to create a shirt using all the fabric in response to the word “Bauhaus”. We considered possible extravagant shapes and silhouettes that would represent the theatrical pieces created by artists from Bauhaus, we considered the minimalistic style that majority of the Bauhaus artists use in their work. We used folding and pressing to create a geometric shape on the back of the garment, we wanted to emphasise the shape and angles on the shoulders. We wanted to keep the garment minimalistic but had large amount of excess fabric left and decided to create some shape on the front of the garment. We didn’t like the ruffles placement felt like it didn’t lay properly on the garment but was a representation of the almost theatrical work created. Bibliography T. (2016) ‘HuffPost UK sustainable fashion: Blogs, advice and reports on the sustainable fashion world’, Huffington Post, Available at: http://www.huffingtonpost.co.uk/news/sustainable-fashion/ The Guardian (2015) Sustainable fashion | guardian sustainable business. Available at: https://www.theguardian.com/sustainable-business/sustainable-fashion-blog Sustainable fashion (2016) in Wikipedia. Available at: https://en.wikipedia.org/wiki/Sustainable_fashion (Accessed: 8 November 2016).
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A video on individual's opinions on what sustainable fashion means and how to introduce it into the fashion industry. Bibliography: theguardian.com (2013) Sustainable fashion: How to bring sustainability into the apparel industry - video. Available at: https://www.theguardian.com/sustainable-business/video/sustainable-fashion-sustainability-apparel-industry-video?CMP=share_btn_link
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Semiotics
The definition of Semiotics is the study of signs and symbols and their use for interpretation imagery. Semiotics is the “science which studies the role of light as a part of social life,” this quote highlights the significance that semiotics has in relation to cultural influences. Our actions and thoughts are governed by a complex set of cultural messages and conventions set out. Which is dependant on our own abilities to interpret these. There are three main types which consist of, an icon, which represents a word or a phrase; an index, which is associated with its referent; a symbol which is related to its referent by convention. Using semiotics we had to create concepts and respond to them through imagery. Within groups we were set a task to create an image board that reflects and serves as some kind of message. We were challenged by only having limited accessibility to images through magazines. It was difficult to find the appropriate imagery that reflects and highlights my concept and messages. For my most effective board we wanted to highlight societies’ struggle in accepting ‘the nipple,’ how a woman having her breasts with nipple showing is considered as being offensive. I wanted the image board to highlight the struggles of gender equality and to oppose sexual objectification. We wanted to expose the problems that how female areola is considered as being ‘indecent’ and therefore a criminal offence. We gathered what is considered as being explicit such as breasts anything that could be seen as being “offensive” to viewers. I layered the “inappropriate” images onto photographs of dressed models, to create a significant contrast between dressed and partially naked women. We wanted to emphasise the initial shock that people may have with nipples and breasts by layering red onto an image of woman who is fully dressed in black and white clothing. We layered this woman onto a background of a boxing ring, we wanted to highlight the struggle and battles which ‘Free the nipple’ campaign is suffering with members of society. We decided to surround the focal point with sexual photographs that are seen as being acceptable. Even though the images suggest a sexual nature these are allowed in society because we see these so regularly in movies, magazines and social media. We wanted to clearly emphasise that it is socially acceptable to see sexualised imagery but ‘indecent’ to see a woman’s nipple. Bibliography Semiotics explained. Available at: http://www.signsalad.com/semiotics-explained/Semiotics for beginners: Introduction (1992) Available at: http://visual-memory.co.uk/daniel/Documents/S4B/sem01.html (Accessed: 8 November 2016). NIPPLE, F.T. (2016) JOIN OUR MOVEMENT. Available at: http://freethenipple.com/join-the-movement/
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