Basic Research in Art: Foundational Problems in Fashion Design Explored through the Art Itself (original) (raw)
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2017
Analyzing the relationships between art and fashion, I will refer to the category the Other/ identical. For several decades, it has been popular in the humanistic debate, subject to various interpretations (Derrida, Foucault, feminism, post-colonialism). In the meaning adopted here, just as the Other is a condition for the existence of the identical, so, I believe, fashion is a point of reference for art. It functions as an element allowing art to build its identity on being different from it. This situation was particularly evident in the first half of the 20th century. In the introductory part of my paper, I will present some examples of avant-garde artists' involvement in the design of clothing treated on an equal footing with artistic activity. For the Futurists and Constructivists, the Other and the identical were equal. The second part of the paper describes the situation that arose at the end of the 20th century, when equality between the Other and the identical took a di...
Art and Fashion - From the sublime to frivolous and back again
The human need for expression through images is present probably since the human need for dressing. Despite their conflicting roles, both art and fashion play important role in the society. When approaching the relationship between art and fashion many discrepancies between them arise, as well as many similarities, especially in contemporary times. While art is imbued with spiritual – the sublime – fashion is linked to physical – the frivolous. When acceding to the concept of fashion, it is important to emphasize distinction between fashion and clothing. Dress becomes fashion with inscription of symbolic value. Art transcends both space and time; fashion is spatially and temporally confined. From this confinement two crucial points of divergence ensue: a) the concept of fashion is related to the western culture, b) the time of fashion refers to modernity. The emergence of fashion in the Renaissance indicates a new era, with the rise of capitalism and the redefinition of social roles. Fashion is closely associated with capitalism which is problematic because this often puts the emphasis on its economic aspect, while neglecting its aesthetic aspect. It is often overlooked, but should also be noted that fashion has its place in art, especially in the field of applied arts. Therefore, two important moments where art and fashion interfere are: a) the invention of geometric perspective in the Renaissance: art becomes part of the system of representation; fashion becomes part of the system of communal living. b) the invention of photography in the 19th century: both art and fashion get emancipated from either representational codes or strict class divisions. We could say that the Renaissance marked the beginning of seduction by images with the illusion of three-dimensional space on a two-dimensional surface. With the industrial revolution and the invention of photography a major change began in the perception of the world, and art played an important role in these processes. Due to scientific and technological progress social changes found their particularly interesting reflexion in both art and fashion. In modern and contemporary times the artwork as material object is replaced by idea, concept and artistic event. On the other hand, fashion shifted its focus from functionality to images. Discussions on whether fashion is art began in the 80's with the entry of fashion into museums. In the 21st century, when fashion becomes part of creative industries, an important and troubling questions should be asked once again: can fashion be finally considered one of the of the artistic media or are we hopelessly regressing back to traditional categories which claimed their strict detachment?
Body-Design and Contemporary Fashion : The Deconstruction of the Luxury
2018
In the article author's attempt is to open the problem why the fashion as body-design in the contemporary world of shifting identities has emerged a key factor in the success of the cognitive and digital economy. I am trying to explain why the early 21st century encompasses the whole area of overlapping impacts of technologies and art sets in terms of cultural and creative industries. The cultural industries encompass creativity, production and commercialization related to the problem of intellectual property protection in the press, publishing, multimedia activities, audiovisual and cinema production; Creative industries, on the other side, comprise preferably understanding of design as the construction of a new world of life in the interaction of art and technology. Since the entire global economy of services and products has associated today with innovations in the digital sphere, it becomes obvious that fashion nowadays significantly has determined from different theoretical...
Politcs of dressing: cuts on bias between design and art.
This paper aims to briefly presente the path of a PhD Research "Politics Of dressing: cuts on the bias" focusing on the considerations presented in the last chapter. We will presente some artists works that exploring meanings through the use of clothing and/or body, by taking some of the force lines that cross the vestiments flows in the fashion field, as well as some of the concepts investigated along the thesis. In this way, we selected three works that touch on our outlined issues: Wanted me, Lenora De Barros (São Paulo, 2001); AZ Six Month Seasonal Uniforms, Andrea Zittel (New York, 1991--‐2002), And Detachment, Marilá Dardot (São Paulo, 2005), which will be commented.
In the domain of research and practice in fashion design, emerging questions have been raised concerning the extent of clothing related to the body, and its physical and psychological competences regarding the user. New projectual paradigms are set, highlighting transmutation and interaction variables in a both physical and immaterial dimension. If fashion has proven to enjoy cross-contaminations with other forms of art, technology entails new advances for its contextualization and materialization. In the faded border between design and art, experimentation can bring a development for both, because the protection of the body is simultaneously the design of the mind: clothing is thought. In this analysis, the contemplation moment is a combination of synchronic circumstances of co-experience which are, at the same time, technological, individual and cognitive, with a sociological character. Ultimately, they underline an impregnated intelligence in the textile material, holder of significations of human character.
Trame di moda e geometrie di progetto Fashion wefts and geometries of design
XY, 2019
The combination of fashion and transformation frames a current reality where the subjects and their dressing practices are the objects of processes of a constantly mutating identity building. At the centre of the debate on fashion design there is always a human body which interacts and coexists with the technologies that inhabit it: they, at the same time, amplify the range of forms and operational possibilities based on the most advanced representation methods and prototyping of clothing and accessories, relating to innovative materials. The paper reflects on the modes of construction of the artefacts and on the methods of planar development of patterns, needful for the making of clothes and accessories, and at the same time investigates the inspiring principles of projects that relate with wefts traced directly on real bodies, or on their digital clones. The main case studies here presented concern the work of fashion designers and creative directors who experiment with digital technologies during the ideation, design, pattern making and prototyping phases, up to the visual communication of fashion garments and accessories. A complex kaleidoscope of free forms that fit moving bodies, in patterns and geometries that merge with the physicality of the subjects, and sometimes deny it, demonstrates that representation, in all its knowledge, is crucial in the fashion industry.
Art as a Source of Inspiration in Fashion Design
Inspiration has an important place in the fashion design process. In a fashionable way, the qualities that the designer is influenced by is the research result for his inspiration. The design elements and principles help in interpretation of the design to convey the design details in the mind of the designer onto paper or fabric. In this work, a collection of inspirational ‘art’ was examined to determine how artwork is reflected in the design elements. Ten fashion design students created a collection of five pieces, based on an artwork. Dress designs were investigated with descriptive analysis technique and the categories were created using design elements for evaluating the visuals in valid form. Colour, texture, ‘rate and line’ and press and decoration were the design elements that benefited in the stage of reflecting inspiration. This is important for the fashion designer to utilise art as a source of inspiration. Keywords: Fashion design, design elements, inspiration in fashion design.
A new approach in art, textile arts and fashion design
2018
Art and design is everywhere around us. It is said that the design and fashion is in love with art. Fashion is an art form, a decorative or applied art because some amount of artistic expression goes into clothing. Fashion is fascinating and captivating; from clothing design to catwalk show, the word of fashion is falling over itself to involve important names from a diverse range of the visual arts. Through this study and the two creations realized, it is highlighted the fact that the purpose of the fashion design is not only to follow fashion and aesthetic, but also to develop a multidisciplinary comprehensive design art.
This study is part of the surveys conducted in the doctoral research about the methodological tools of fashion design, which focuses in the techniques and methods for the elaboration of visual support of the semantic aspects of clothing products in the educational context. In assessing the design process in this field, it was analyzed the interaction system between the fashion clothing product and its users. An exploratory research was conducted, including literature review and documentary analysis, through which we identified the main requirements of interaction between product and user. The criteria identified as essential for examining the body-artifact-environmental system are distributed in projective parameters of physical adaptation, expression and representation. For these reasons, this article aims to relate concepts drawn from theories of human factors, hedonomics, communication and emotional design, to demonstrate then that fashion clothing is a dynamic and interactive space that mediates the relationship with the environment. Therefore, this text addresses clothing as an amplified interactive space, envisioning exchanges that perform with the body, the surrounding space (physical and cultural) and time. By associating the literature and the documentary analysis of academic practices, it was possible to highlight the key indicators to understand the attributes that guide the development of wearable interfaces. Among these attributes, the communicative potential receives greater emphasis, as these artifacts are converted into individual vehicles of expression and collective identification, becoming instruments of symbolic constructions and mobile records of the space-time relations incorporated in the material culture. The results reinforces the hypothesis of a methodological approach to fashion design in which the visual thinking and systemic reasoning is valued, in order to integrate the socio-cultural codes to the usability requirements of the products, allowing the aesthetic-symbolic factors to create identification links and build the affective experience.