Is Fashion Art?

In lesson this week we watched Valerie Steele's keynote speech 'Is fashion art?'. From taking notes from this video (link found bellow) I revised this question and came to my own conclusion on the forever argued debate.

While many people agree that a meticulous haute couture dress can be just as stunning and captivating as a Gogh classic, some of the most famous names in the fashion industry detest the idea that fashion is art, one being Karl Lagerfeld. The question is constantly up for debate, dividing the artists from the fashion appreciators.

What is the difference between Fashion and Art? The primary difference between the two lies in their utility. People may argue that fashion is functional, personal and expresses one's individuality but many disagree and believe that art can in fact do the same thing. I myself, disagree that art can do the same thing.

Yes, art is a form of expression and can be used to display emotion, creativity and exquisite detail just as much as fashion can however to myself it doesn't withheld the practicality that fashion does. For example, when you get up, what is one of the first things you do before embracing the day? Stare at a painting? Create a world famous piece of art worth millions? Possibly.. But you're much more likely to establish a aesthetically pleasing outfit before leaving your house.

I am well aware of the fact that everyone shares different opinions and I respect these entirely. And being the openminded person that I am, appreciate all art and fashion forms, whether they captivate myself or not.

Despite my opinion on the subject, the debate defies a purpose and lack of an easy answer, because like beauty, art is in the eye of the beholder. The world becomes bland and insipid once we start defining anything, let alone what is and isn't art.

Links:
Valerie Steele's keynote speech on 'Is Fashion Art?'

Late night pocket techniques accompanied by little Luca

Me and Laura stayed behind University one evening to catch up on our fashion construction module, where we explored two pocket techniques.

 

As per usual, little Luca got carried away and caused a slight nuesance of himself.

 

On the right: In seam pocket

On the left: Inset pocket

V&A Trip: Horst, Disobedient Objects and Retail Therapy

                             

 

I went to the Victoria and Albert Museum on the 18th November along with the rest of the first years from the Fashion and Textiles class at Colchester Institute. Whilst at the museum I visited the Horst: Photographer of Style exhibition which displayed a huge range of Horst P. Horst's work.

Horst created images that transcended fashion fashion and time effortlessly. He was seen as the master of light composition and atmospheric illusion due to his well known visual style of using dark and dimmed lighting with the occasional spotlight in the background or shining upon the model or desired object. Horst was a regular visitor to The Louvre (Paris) as he had a big interest in ancient and classical architecture and sculpture which is clearly shown in his work which often features some sort of ancient Grecian styled pillar or sculpture as a prop or part of the background set.

As mentioned earlier, his work withheld a prominent style of dimmed lighting creating visually beautiful, dark photographs. Although not everyone saw them this way. His darkened lighting often caused disagreements with Vogue staff when working with them. Edna Woolman Chase declared that they had been lecturing Horst about the lack of lighting in his photography and how he must overcome this style to shroud everything in the deepest mystery.

I really enjoyed his black and white portraiture of actors, models and artists alongside his newer coloured fashion photography for Vogue. The 1930s ushered huge advancements within colour photography which Horst adapted quickly and effortlessly creating some of Vogue's most visually daring and dazzling colour images.

                      

                      

(Above is a collection of images which I took whilst wondering around the V&A)

Another exhibition I saw was Disobedient Objects. "First they ignore you. Then they ridicule you. And then they attack you and want to burn you. And then they build monuments to you." The exhibition focuses on the period between the 70's to now, a time which has brought many new technologies and political challenges. Examining the powerful role of objects in movements for social change the exhibition demonstrates how political activism drives a wealth of design enterprise and collective creativity that defies the average definitions of art and design.
I learnt that many rights and freedoms we enjoy in this day and age were won by disobedience, which was made very obvious to me through the art work displayed in the exhibition. Each work of art individually withheld an important message; solidarity. We cannot change the world on our own, in order to change the world we as a community must stick together strategically in a common cause for movement building.
The artwork was not made by commercial designers, but by people collectively taking design into their own mindset and hands to change the world in their own way. Many of the artists and designers worked under duress with limited resources and used only their imagination and creativity to produce such art.

Although the power and incentive behind the pieces were extravagant and bold, paying great detail to the meaning and message behind the artwork I didn't feel the connection and lust towards these pieces as I did with Horst's art work.

After visiting the V&A Museum, myself and a few other girls from my class ventured around London to Harrods and various other shops for some retail therapy. We then jumped onto a train back to Liverpool St. and dined at GBK (which I was kindly introduced to by Amy which I am very grateful for!) which was amazing.

Visit from F Ciment Pleaters

On the 17th November, we had a visit from a pleating company called F Ciment (Pleating) Ltd. David introduced himself, the company and what the they do.

David went on to present the wide range of pleating samples he brought with him. Roughly 50% of the designers in the SS15 London Fashion week are clients of F Ciment's alongside the Queen. The company even pleated the fabric for Marilyn Monroe's classic white dress worn in 'The Seven Year Itch'.

The process of their pleating is a lot simpler than I first expected. He showed us that a pattern is folded onto two pieces of cardboard which is then stretched flat with fabric in between. The 3 layers are then squashed back into the pleated shape and pressed or steamed for a desired amount of time. (However any pleat under 12mm is pleated using a machine.)

Here are some images taken by myself of the presentation and samples;

F Ciment (Pleating) Ltd: http://www.cimentpleating.co.uk/page1.htm

Mono Printing and Creating Textile Prints

The previous week we were asked to look through our sketchbooks for motifs that stood out to us in some way or another and ones that we felt relevant to our project, and draw them in fine liner on plain white paper. Using these motifs we experimented with mono printing, collaging and many other techniques.

                           

I scanned my outcomes on the photocopier, playing with size, mirroring and inverting. Using these adapted photocopies we were set the task of creating a collaged piece, 50x50cm which will later be exposed on a screen for our final print.

            

I really enjoyed the eyes which I had taken inspiration from a hand stitched portrait of a statue featured previously in my book. I played with different sizes, placement and quantities of the eyes until I came up with a design I was pleased with. 

Using our final prints we then creating companion prints using paints, collaging and photoshop. Although I enjoy practical work I much preferred my digitally made prints using photoshop (probably due to my OCD neatness!). Here are some of my favourite companion prints;