The western convention of not only the construction and techniques but
also the normative concepts of fashion were challenged by those Japanese
designers. By breaking the western convention of fashion, they suggested
the new style and new definition of aesthetics to the whole world. Since
their debut, the view of fashion was going the very opposed way from the
conventional western fashion. Some westerns may took it as “an offense
not only against their aesthetic but also against their existing
arrangement of ranked statuses, a stratification system in fashion or
the hegemony of the Western system” (Yuniya Kawamura, 2004, p136).
For instance, those designs by Kawakubo, Miyake and Yamamoto were known
for being gender neutral or unisex. Clothing at that time was “a major
symbol of gender that allows other people to immediately discover the
individual’s biological sex” (Yuniya Kawamura, 2004, p132). These
three Japanese designers challenged the normative gender specificity
characteristic of western clothes. As yamamoto talks about his idea
“men’s clothing is more pure in design. It’s simpler and has no
decoration. Women want that. When I started designing, I wanted to make
men’s clothes for women. But there were no buyers for it. Now, there
are” (Duka, 1983, p63).
The notion of “conceptual” aesthetics also led to many other changes
in the established western fashion system. The Japanese designers broke
away the historical paradigm of using conventional models replacing
glamour with uniqueness and individuality. In Miyake’s Beautiful Ladies
collection (1995), he used six models aged between sixty-two and
ninety-two. Miyake also set the precedent for displaying fashion
exhibitions in major ...
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... Yamamoto
and Kawakubo” (Bonnie English, 2011, p130).
They widen the boundaries of fashion, reshaped the symmetry of clothes,
introduced monochromatic clothes, and let wrapped garments respond to
the body’s shape and movement. They destroyed all previous definition
of clothing and fashion. Their concepts were “undoubtedly different,
totally original and definitely new compared to the rules of fashion set
by legitimate, serious Western designers such as Chanel, Dior and Saint
Laurent” (Yuniya Kawamura, 2004, p148). Fashion historian McDowell
argued that the Japanese designers “made few concessions to traditional
western ideals of dress, chic or beauty” and their clothes were “as
much a statement of philosophy as they were of design” (Mcdowell, 1987,
p 41). And according to Koda (Martin and Koda, 1994), “a new form of
anti-fashion had emerged”.
During the year of 1943, it is said that nearly 65% of women made up the industrial workforce. The image is illustrating woman empowerment and the ability to be seen as equal as men. This specific propaganda poster, led to many changes in the workforce and societal alterations for women. Gender had a lot to do with this specific change in the workforce, it became the main focus of discussion. Many were shocked by the way women could perform in these industrialized settings. The whole purpose of the “We Can Do IT” phrase, was aimed at the women of the 1940s and would be left as remembrance of all that is achievable. As stated by J.V. Peluchette in his “Dressing to Impress” article, “It is likely that there are individual differences in attire-related beliefs and behaviors. Gender differences have received some research attention with regard to attire but results have been mixed”(J.V.PELUCHETTE). His research proves that the workplace certainly looked closer at what women are wearing rather than keeping clothing goals equal. Another interesting facet of this time period was the research that was done behind the articles of clothing that was worn. Although, it was mainly gender based around women, there was a time where researchers began to look carefully at the trends of clothing. In a very interesting article written by Nancy Parezo, she focused on a very specific style of clothing, which was
Western materialism and consumerism, especially products like lipstick and nylon stockings, became a trademark for the pan pan look. It is with these Western goods that the metaphorical transition of the Japanese image from brutish, masculine dominant threat to the vision of a docile female body was formed. Here Dower explicitly depicts the interconnectivity of Japanese and Western cultures through commercialism.
The other day I was walking back to my dorm room and I saw someone wearing a shirt that read "Fcuk" across the front. If looked at quickly, one would think that there was some modern profanity being displayed on the front of the shirt when, in fact, there was none. The writing on the shirt actually is a label for a company by the name of French Connection. All this begs the question, is fashion becoming more brash, or is it emphasizing on the American right to freedom of speech? Furthermore, are some people taking that constitutional right too far? Clothing and fashion has always had a language of its own. Throughout the ages, the style in which one dresses has defined one's position in society, one's political views and one's occupation.
Transvestism is defined as wearing opposite gender clothes. Other differences are also present, which assists to identify the distinction that is present as well when discussing queer style and transvestism. The use of colours in dresses and the materials of the dress with the way it is carried have important meaning for identifying the differences. The use of bright colours with silky, shiny, and tight material represents features and aspects of queer style. However, on the other hand, cross-dressing is not restricted to colours and materials (Purdy, 2004). Transvestites wear all type and all sorts of dresses that start with skirts and end at complete opposite gender dresses. Transvestism occurs not because the person endures some psychological issue or wants to show themselves as different, but it is a sense of
In fashion industry, every new design is proffered in the style of hand-drawn sketches prior they are cut and sewn. Firstly you need to draw a croquis (a sketch) of a model shaped figure that works as the foundation of the sketch. The main point is not to draw a realistic figure, however a blank canvas on which to portray sketches of skirts, dresses, blouses, and accessories.
‘Haute Couture’ is a French word, which translates to mean, ‘high sewing’ or ‘ high dressmaking’. It refers to the creation of exclusive custom-made clothing. I t is constructed by hand, with the use of sewing machines, from start to finish. It is made from high quality, expensive fabrics, which are sewn with extreme attention to detail. The most experienced seamstresses finish them. A haute couture garment is often made for a client tailored specifically for the wearers measurements. Considering the amount of time money and skill that is allotted to each completed piece haute couture garments are described as having no tag. Meaning, budget is not relevant. Each couture pieces is not made to sell, they are designed and constructed for the runway, just like an art exhibition. Clients value the uniqueness of the couture and the status that is attached to a made to measure service. They could spend up to 100,000 on a couture wardrobe each season.
The evolution of society and its values have greatly impacted the fashions of the times. As women have gained more rights and independence, their fashion has clearly changed to reflect this. The change in over time was a huge improvement because it helped show that as women gain more independence they should be treated and seen equally.
According to Hill, Wee and Udayasankar, the success of the company’s strategy can be measured by the value created for shareholders. To maximize the value, managers can increase the profitability by picking a position in the efficiency frontier with supportive internal operations and appropriate organization structure. In fact, Louis Vuitton had outstanding performance on that.
The word “luxury” came from Latin “luxuria”- extras of life (Dazinger,2005: 9) According to Oxford Latin Dictionary “luxury” came from the word “luxus” – ‘extraordinary living’ (1992). All luxury fashion pieces are the symbols of wealth, status, prestige that provide pleasure.
Japanese well-known product, anime and manga, have become increasingly popular throughout the whole world. Alverson (2013) have noted that in New York Comic Cons (New York Comic Convention), the amount of people attending the event has been increasing since 2000 (p. 23). Exner (2012) also appreciate the fact that anime has become mainstream form of entertainment (p. 28). So, what are they? In many people’s understanding, anime are Japanese cartoons and manga are Japanese comics. This belief is not wrong, but there are some fundamental differences that differentiate anime and manga from American comics and cartoon. Unlike comics which are mostly aimed at children, manga aim at audiences of various age and therefore have some genre that comics did not (Poitras, 2008, p. 49). This fact is also shown in the higher display of violence in anime than in Disney cartoons (Disney VS anime, 2000, p. 22). Additionally, manga stories usually tell a single tale with several volumes whereas comics generally have one story per issue (Poitras, 2008, p. 49). As noted before, these types of Japanese entertainments are becoming increasing popular throughout the whole world and many scholars are recognizing so (Fennell, Liberato, Hayden & Fujino, 2013, p. 440).
Fashion plays an important role in the lives of billions all over the world; people, as part of a status craving society, turn to “fashion capitals” of the world for ways in which to dress and carry themselves. New York, Milan, and Paris are leaders among this fierce industry that the world lusts after. Fashion can speak volumes about ones personality, or also about the condition the world is in at the time. In France, fashion changed rapidly and feverously as the times changed.
When walking through a cherry blossom festival today, one would stand in astonishment when observing the younger generation. The prim, modest Japanese woman has been exchanged for a bold, energetic machine charging at maximum speed into the 21st century. Twenty years ago, Sumiko Iwao took note of a wide-spread stereotype in her book The Japanese Woman boldly claiming, “The Kimono-clad, bamboo parasol-toting, bowing female walking three paces behind her husband remains the image many Westerners hold” (Iwao 1). Today, this image no longer holds true. Japanese women are becoming increasingly more like the women of the West burying their kimonos and their shamisens deep within the vaults of their memories. In a Japanese hair dye advertisement by Palty, a young woman has dyed her hair blonde and wears blue colored contact lenses. Her appearance resembles that of an American starlet fully enveloped in a gla...
middle of paper ... ... It also analyzed the influences of modern dresses. As Palmer and Clark (2005) mentioned earlier, both decades are the classic era in fashion history.
This chapter will show the value and importance of fashion in our society, which is the main subject of this research. It focuses on the significance of fashion in terms of defining what society called as the ideal beauty standard, especially in the concept of beauty from Filipinos and the modern day fashion that millennials are trying to attain in order to answer the real purpose of keeping up with fashion trends to reach the expected beauty standard. This also relates to the claim in stating how fashion attempts to make everyone similar. People want fashion so that they can differentiate from other groups so that they fit in with their own social group or class.
From a historic point of view, Western travelers had remarked on the slow pace of lifestyle and fashion change in Turkey and Persia. On the other hand, many people were of the opinion that the western culture is getting out of hand in terms of dressing fashion (Cumming 234). In most cases, change of fashion and dressing style took place hand in hand with economic and social changes. In the developing world, changes in fashion began with the coming of the whites in Middle East. Changes began in the 11th century when the Turks came to central Asia and Far East. In Europe, continuous change in clothing fashion is believed to have started in middle 14th century. It started by a sudden introduction of shortening and tightening of male garments, it further brought the introduction of trousers and leggings that were worn by men (Cumming 235). After the advent of change in men fashion, it was followed by changes in female c...