The Overlap between Art and Fashion in Anti-Fashion by acemyhomework

Art (The Overlap between Art and Fashion in Anti-Fashion) Content Introduction......................................................................................................................................3 Literature review..............................................................................................................................4 The “Kimono” designs...............................................................................................................4 Artistic style and rockability associated with gingham..........................................................5 Visual synthesis in Miyake’s work...........................................................................................6 Visual Analysis................................................................................................................................8 Textual analysis.............................................................................................................................10 Conclusion.....................................................................................................................................11 References......................................................................................................................................13

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How Do Art And Fashion Overlap In Anti-Fashion? A Case Study Of Japanese Designers In The 20th Century Introduction The research question is "How do art and fashion overlap in anti-fashion among the Japanese designers in the 20th century? The topic is important because it unveils the fundamental similarities or overlap between art and fashion in the Japanese context. There is a lot of creative processes within the fashion world. The fashion designers have sometimes been working together with artists to add some intellectual acumen in an industry that sometimes appears to be frivolous. Most of the design creativities were their own, as the case with any fine artist, i.e., using a cloth and the cutting techniques with the same mastery of skills as those exhibited by the painters wielding brush on canvas (O’Connell, 2020). Fashion designers absorb a lot of ideas around them. As such, exploring some of the Japanese designers with regard to the overlap between art and fashion in the 20th century, while referring to anti-fashion, is something of interest that deserves to be explored. This may give some insight into the various ways in which art can be tapped and leveraged in anti-fashion trends, even in future generations. Art and fashion in the 20th century were inseparable, and there is a sense in which most of the antifashion trends that are evident in the 21st century were inspired by the trends in the 20th century, whereby most fashion designers were embracing art in their designs (O’Connell, 2020). There is a need to hypothesize that the Japanese designers in the 20th century leveraged elements of art such as color schemes and aesthetics in building their anti-fashion. One of the commonly used terms in this essay is ‘anti-fashion”. This is an umbrella term for the various styles of dress, which tends to be contrary to the fashion of the day. The essay incorporates various sections such as the literature review, visual analysis, and textual analysis.

Literature Review The area of interest in this literature review is the overlap or areas of intersection between fashion and art as portrayed by the various fashion designers in Japan during the 20th century. There is a likelihood that fashion and art were used hand in hand from time immemorial. The review attempts to unearth these trends and unveil how the trends informed anti-fashion. The purpose of the literature review is to explore is to obtain in-depth insight into the intersection between fashion and art in anti-fashion trends. Some of the subsections included in this section entail the depiction of art in the Japanese "Kimono" anti-fashion design, which was used before and throughout the 20th century. The “Kimono” Designs The “kimono” designs exhibit a strong interconnection between fashion and art in antifashion. The design could be classified as anti-fashion because it somehow went against the fashion trends of the 20th century in Japan. Both men and women could wear it, and it was still embraced. The ideas and works could be traced in these designs. The themes that were incorporated in the designs were pure artistic works. For instance, the Japanese ideas of formality, seasonal changes, color schemes, sartorial practices such as layering and folding were evident in the designs. The designers made this garment efficiently, using a single bolt of cloth, and the design did not require any form of tailoring. The designers strived to incorporate different preferences and tastes to accommodate the different variations of the accessories. The garment was evolving, probably because of the exposure to western fashion. However, the evolution did not impair the artistic trends that were already evident in the use of the garment. The trends could be observed in the use of certain fabrics, the length of the kimono sleeves, and the varying accessories.

English (2011) looks at the “kimono” garment as a pure depiction of art which also symbolized Japanese culture and identity. The garment has also been going international, as it was one of the most famous exports, especially in the 20th century. Given the strengthening of artistic endeavors in the 20th century and the period before, the garment has been able to stand the test of time and embraced across borders. Ivy (2010) also attempts to compare the “kimono” garment and the fashion trends in the west. It is apparent that there was no divide in Japan between decorative art and fine art as it is observed in the west. Art was full put to use when it comes to the design of the garment. As the author puts it, they on a kimono and designed on a kimono, and it was like a canvas that could be won by people who had specific tastes and preferences. As such, most of the assertions made in the text are supported and authentic. The text is relevant to the literature review because it portrays how fashion and art were inseparable in the design of the “kimono" anti-fashion, a trend that made it possible for the garment to go international in the 20th century. The overlap between fashion and art is an indispensable trend that has created a competitive niche for such designs, which would have been forgotten a long time ago. The topic highlights the resilience exhibited by the garment, courtesy of the overlap between art and fashion. Artistic Style and Rockability Associated with Gingham Gingham also depicted significant incorporation of art to fashion, and it became a new trend whereby women could put on the dress shorts for men and had a way of tying the ends together to make them more formfitting. The art incorporated in the design is so dynamic and versatile, and it was not just exhibited in clothing but also in other items such as tablemats and walls. This qualifies the trend as a perfect intersection between art and fashion. The style has been referred to as the source of inspiration for the different youth subcultures in Tokyo.

Kawakubo, one of the designers who embraced the method, took time to stray from her typical color and pattern choices. She made certain to select a pattern that was overflowing with the various themes that she could subvert in a collection, which put to question the very essence of traditions and norms. Some of the artistic elements were not from Japan, e.g., the depiction of the utilitarian pattern that is said to have originated from the East and was subjected to subversion by both Japanese and British subcultural movements (Ivy, 2010). The combination of colors and materials was also much of art, e.g., monochromatic shade of red, with some mounds of fabric on the hips or shoulders. Ivy (2010) affirms Kawakubo's work as an artistic endeavor. He pinpoints the work as an example of the fashion designers who were curious about form and shape and fascinated by artist elements such as color and their cultural affiliation. Most researchers gave credence to these designers' work in the 20th century, and therefore there are no contradictions about the same. There are no assertions, which have not been supported, and a holistic picture of the designer’s contributions has been made. As such, there were no information gaps. The text is absolutely relevant to the literature review as it highlights a fashion design that stood out in the 20th century, and the artistic acumen exhibited by the designers was undeniable. One lesson that is evident from the text is that the designs in the 20th century were not just limited to clothes, but also other things such as walls. The text does not exclusively analyze the artistic elements but also explores other factors that were being considered by the designers, e.g., the cultural influence. Visual Synthesis in Miyake’s Work Issey Miyake, one of the iconic designers of the 20th century, has been earmarked as a designer who had a unique perspective on the construction of clothes. The theme relates to the

research question in the sense that the designer embraced visual synthesis and depicted a love for artistic collaborations in the development of their collections and image. There is evidence of overlap between fashion and design in his work, making the theme relevant to the research question. Researchers such as Polan and Tredre (2020) appreciate Issey Miyake and other designers such as Yamamoto for their embrace of fiber technology and a devotion to tonal and textural eclecticism prompts. Their texturing, shrouding, and layering techniques were reportedly part of historical fashion. Most researchers also support these sentiments. Issey Miyake's contributions have been widely referred to by various fashion researchers and enthusiasts; hence, there is no likelihood of unwarranted assertions. The relevance of the text to the literature review is bestowed on the immense evidence of the overlap between fashion and art. The visual synthesis that demonstrates a dedication to communicating the raw visual distinctions of planar form affirms the existence of the overlap. It was apparent that most of Japan's 20th-century designers used the country's rich visual heritage as a foundation of their social and aesthetic collages of cultures across the world. The topic fosters awareness of these designers, their organic movement, and their visual splendor strongly. There is a mention of the tools of design used, such as fiber technology. However, there was a need to explore more in an attempt to unveil the art tools and equipment that were put to use by these designers. The overlap between and art is apparent in the “kimono” designs, which were innovated by designers such as Horomi Asai and Jotaro Saito (Kawamura, 2013). Various themes were well articulated in the "kimonos," and these can be attributed to the artistic efforts that the designers were embracing. For instance, some of the ideas that were articulated in the design of

the “Kimonos” include the Japanese ideas of formality, seasonal changes, color schemes, sartorial practices such as layering and folding were evident in the designs. The designs were are tailor-made to suit the tastes and preferences of the customers. Gingham designs embraced by the designers such as Kawakubo also portrayed the intersection between art and fashion through various aspects such as the combination of colors and materials, e.g., monochromatic shade of red, with some mounds of fabric on the hips or shoulders. Miyake's works exhibited texturing, shrouding, and layering techniques, among other elements (Kawamura, 2013). This implies that art amplified most of the designs, and sometimes it made the fundamental difference from the initial fashions in the previous centuries and those that were inspired from the foreign countries. Visual Analysis

(Ivy, 2010) The image under consideration is called “Bullfinch and Weeping Cherry" and was created by Katsushika Hokusai in 1834 (Kawamura, 2004). The print shows a bullfinch on a

slender branch of cherry blossoms, and it has been angled downward against a deep blue background. "Bullfinch and Weeping Cherry" is from a series called "small flowers" that comprises various prints that strive to unite the aspect of aesthetic elegance with formal realism. Given the image's description, the image depicts a bullfinch on a small branch of cherry blossoms, and it is facing downwards against a deep blue background. The beak of the bird is long enough to reach the bottom of the frame, and it has claws that support the body and allows the tail to extend upwards. The branch is made up of blooms and leaves, and it has been covered with buds. The branch goes all the way from the upper left of the image and has followed the left edge before it curves on the right so as the adequately occupy the lower part of the frame (Kawamura, 2013). The image suggests the artist's participation in the Japanese traditions of representation and his interest in finding better ways that can be used to depict familiar objects such as flowers and birds. One artistic strategy that has been greatly leveraged in this artistic piece is the use of nature as a framing device. The delicate treatment of the branch, together with the curves, worked perfectly in creating the decorative effect. The composition has been made simple, and the approach tends to be more experimental, combining a naturalistic approach to the birds. The bluish color works perfectly well for the image. The image also has some historical and traditional touch. For instance, there is a representation of the “haiku” within the image. There was also an attempt to create a dialogue between visual and textual art, which would have an ongoing impact. The image has been very successful, courtesy of the bluish and whitish color accuracy that has been well leveraged by the artist. The proportionality of the image within the frame is beyond reproach. The contrast between the background, the flowers, and the birds brings it out

better as compared to other images such as "the Himeji castle” and “cypress trees” (Koolhaas et al., 2011). The critical essay is about the overlap between art and fashion. This part showcases some of the best pieces of art that have stood the test of time. If the image was to be used in a campaign, the chances are high that it will portray the brand more positively as a strong brand. Nature plays a central role in the minds of the target audience. They are more likely to relate to it and buy into the campaign or brand. Textual Analysis The text under consideration is "Discussion on the Evolution Causes of Japanese Ceramic Design Style," done by Ying Pan, and it was published in the year 2020. The author revolves around the ceramic design style, whereby Japanese ceramics is known widely for its characteristics and craftsmanship. The ceramics are also linked to the traditional and environmental culture of the country. The author unveils the influence of the Chinese culture on the Japanese ceramic culture and the self-exploration and adjustment exhibited by the Japanese ceramic art development to demonstrate the background conditions that can be attributed to the formation and generation of the ceramic style. The critical essay is drawn from the Japanese context, and this text pinpoints another artistic trend. Fashion is also being embraced in modern ceramics in Japan. The perspective of the author is that this form of art in Japan has undergone a long development course, and the cultural dynamics in the country basically informed this. Even though the author is accurate when he talks about the long evolution, there is a sense in which the development of ceramic did not just emanate from the Japanese cultures. Like the trend observed from the clothing fashion and design, some external forces are likely to have impacted ceramic art in Japan. The author only attributed the development of ceramics to the Chinese

influence, yet other regions, such as Europe, positively impacted the development (Pan, 2020). As such, the author did not adequately explore the evolutionary dynamics in ceramic art. However, the author is balanced in most points as he tries to put across and attempts to rationalize the stages of change and adjustment adequately. One undeniable fact is that Japanese characteristics and national culture are deeply rooted in art and fused with ceramics. It was apparent that cloth fashion was subsequently embraced in other countries, i.e., the "kimono” fashion. Therefore, it is sufficient to argue that Japanese ceramics are greatly influencing craftsmanship in China. The motivation for writing the piece can be attributed to the desire to appreciate the long development journey of ceramics in Japan. As such, there was a minimal likelihood of impartiality. The article is generally strong and presents compelling findings. The extensive sources have well supported the literature review, and therefore the credibility of the article is beyond reproach. The chronology of events is also convincing. Apart from the chronological attributions, there is a holistic view of the evolution of ceramic art; very few details are likely to have been left out. Most of the arguments are well supported by credible external sources. Therefore, it is authentic and reliable. Conclusion The critical essay gives a comprehensive view of fashion and art in the context of Japan. As noted in the literature review, fashion and art were used hand in hand from time immemorial. The overlap between the two can be well explained by referring to the works of some famous Japanese artists. The kimono designs, artistic style, and rockability associated with gingham and visual synthesis in Miyake's work are some of the evidence pointing towards a strong overlap between fashion and art. For example, Kawakubo, one of the designers who embraced the

Gingham method, took time to stray from her typical color and pattern choices, thus depicting the intersection between art and fashion. The visual analysis revolves around "Bullfinch and Weeping Cherry." This is an artistic piece of work that has been used as an example for almost a century and has stood the test of time. It portrays the artistic acumen portrayed by the Japanese artists. The section sheds light on the research question in the sense that the “Bullfinch and Weeping Cherry” has inspired decorations and designs and the coloring strategies being embraced by the artists. It underscores the fact that art is inevitable when it comes to fashion creativity. The textual analysis exhibits the resilience that is portrayed by art in the context of Japanese ceramic art. Art has consistently grown through the influence of culture and the borrowings from the other environments. The textual analysis adds value to the research question in various ways. First, there is the interplay between art and fashion in ceramics, just the same way it is exhibited in clothing anti-fashion. Secondly, both were influenced by the rich Japanese culture and other countries such as China and the European countries. As such, it suffices to say that there is a thin line between art and fashion, as illustrated in the three sections of the critical essay. This is even more evident in anti-fashion, as seen in the case of gingham designs and the kimono designs. To a greater extent, the iconic fashion designers in Japan, such as Kawakubo, Horomi Asai, and Jotaro Saito were artists.

References English, B. (2011). Japanese fashion designers: the work and influence of Issey Miyake, Yohji Yamamoto, and Rei Kawakubo. Berg. Ivy, M. (2010). Discourses of the vanishing: Modernity, phantasm, Japan. University of Chicago Press. Kawamura, Y. (2004). The Japanese revolution in Paris fashion. Fashion Theory, 8(2), 195-223. Kawamura, Y. (2013). Fashioning Japanese Subcultures. Berg. Koolhaas, R., Obrist, H. U., Ota, K., Westcott, J., & Daniell, T. (2011). Project Japan: Metabolism Talks. (Vol. 100). Cologne: Taschen. O’Connell, M. (2020). Rich relations: The evolution and uneasy symbiosis of art and fashion. Fashion, Style & Popular Culture. Pan, Y. (2020, March). Discussion on the Evolution Causes of Japanese Ceramic Design Style. In 4th International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2020) (pp. 297-299). Atlantis Press. Polan, B., & Tredre, R. (2020). The Great Fashion Designers: From Chanel to McQueen, the names that made fashion history. Bloomsbury Publishing.