ALICE MARSHALL
THE EVOLUTION OF FASHION DESIGN
"I'M NOT INTERESTED IN THE GIRL WHO WALKS INTO MY OFFICE IN A HEAD-TO-TOE LABEL LOOK THAT'S STRAIGHT OFF THE RUNWAY. I'M INTERESTED IN A GIRL WHO PUTS HERSELF TOGETHER IN AN ORIGINAL, INDEPENDENT WAY."- ANNA WINTOUR
ALICE MARSHALL
'BEHIND EVERY PIECE OF MATERIAL, CLOTHING OR ACCESSORY IS A STORY OF A DESIGN PROCESS THAT HAS ELIMINATED AND INCORPORATED MANY CREATIVE IDEAS'
ALICE MARSHALL
FASHION HAS ALWAYS BEEN PRESENT IN SOCIETY, A WAY TO EXPRESS OUR TRUE SELVES AND CREATE A VISION TO IMPRESS UPON OTHERS WHICH I HAVE ALSO INCORPORATED INTO A SELECTION OF MY PERSONAL GRAPHICS PROJECTS, LOOKING AT FASHION PHOTOGRAPHY, DIGITAL ILLUSTRATION AND PROMOTIONAL WORKS FOR ADVERTISING (SUCH AS MAGAZINE COVERS AND POSTERS). EVEN BACK TO THE BEGINNING OF TIME, CLOTHING HAS BEEN A VITAL PART IN A HUMAN'S LIFE, MOULDING AND DISTINGUISHING THE LIVES WE WILL LEAD IN THE FUTURE. EVEN THE SIMPLEST OF GARMENTS HOLD A STORY BEHIND THEM, A CREATIVE SOLUTION OF WHICH FUNCTIONALITY AND STYLE HAS BEEN FUSED TO CREATE A PIECE THAT THE HUMAN FORM CAN WEAR FOR VARIOUS OCCASIONS AND REASONS. BEHIND EVERY PIECE OF MATERIAL, CLOTHING OR ACCESSORY IS A STORY OF A DESIGN PROCESS THAT HAS ELIMINATED AND INCORPORATED MANY CREATIVE IDEAS AND COLLABORATIONS TO MAKE SURE THAT EACH ITEM IS OF THE BEST QUALITY AND TO MEET STANDARDS AND PROPOSALS FOR THE TARGET AUDIENCE. DESPITE FASHION DESIGN BEING OF A CAUSE FOR FUNCTIONALITY OF PRODUCTS AND SERVING AS A GREAT PURPOSE FOR OUR DAY TO DAY LIVES, THE DESIGNING PROCESS HAS EVOLVED INTO THE DEVELOPMENT OF SATISFYING THE CREATIVE NEEDS OF BUDDING ARTISTS AND DESIGNERS THEMSELVES, BRINGING A WHOLE NEW WORLD OF OPTIONS FOR EVEN THE YOUNGER GENERATIONS, SUCH AS MYSELF, TO EXPLORE THE MANY POSSIBILITIES AND OPTIONS THAT FASHION DESIGN CAN OFFER.
BY
IMMERSING INTERESTS INTO THIS CHOSEN AREA, WE CAN LOOK AT HOW FASHION DESIGN HAS CHANGED THROUGHOUT AND IS NOW A PART OF HISTORY, DEFINING SPECIFIC ERAS AND TRENDS THAT WILL BE ICONIC FROM THIS MOMENT FORWARD. AS AKIKO FUKAI COMMENTS-"THE FUTURE TRANSFORMATION OF FASHION MIGHT BE GLIMPSED BY ACHIEVING AN OVERVIEW OF THE PAST HISTORY OF FASHION WITHIN ITS HISTORICAL CONTEXT".
ALICE MARSHALL
ROCOCO AND 18TH CENTURY When we think of fashion design and its evolutionary path we immediately think of the most iconic periods that are focused in the 1900's. But even before this specific period, importance of design was prominent from earlier centuries, in particular the notable shift from Rococo to Revolution in the 18th Century which oversaw an impressive development in how clothing was perceived- "The French Revolution in 1789 modernized many aspects of society and brought a clear shift in clothing styles from decorative rococo to the more simple dress of neoclassicism." Rococo fashion was of an elaborate style, "rooted in elegance, refinement, and decoration" that had been a part of French culture for an extensive period for both men and women, giving grand impressions through the use of divine fabrics and illustrious garments of high quality. But as the revolution brought its looming presence, we see a contrasting shift as such flamboyant dress was dismissed for a more conservative, practical purpose- "In 1789, the French Revolution promoted a profound change in the aesthetics of fashion, and the favoured fabric shifted from refined silk to simple cotton". The economic crisis at the time of the revolution was a huge contributory factor in such changes in fashion as revolutionaries proved their enthusiasm for the cause by adopting such trends from lower classes clothing, showing unification. Similarly, I have looked at how the economic state of America effected fashion in the 70’s as it was a time of liberation despite the upheaval of political interference; my work showcases a contrasting approach by accepting boldness and flamboyant styles to contribute to society’s need for unity in a time of struggle. Now was not a time for unnecessary wealth and flamboyancy during the French Revolution, it was a period of unrest, even in the fashion industry, as shortages would also have a direct impact upon textiles and demands for clothing designs.
ALICE MARSHALL
THE FEMALE FIGURECRINOLINES Despite this swift change, such fashion relating to the Rococo did not exactly die out as it was still ever present but as a developed, more simplistic form within the designing industry. Between the 18th and 19th century the female figure was questioned causing many changes"During the nineteenth century, constantly fluctuating silhouettes characterized women's fashion". Design was broadened to structure, rather than solely fabric, in particular the 19th century focus on the use of crinolines to extend the female figure in the skirt area of garments. Structural aspects of fashion is portrayed within my own experiments, looking also at how clothing gives a specific perceived image of the body and how we confine to standards of beauty (I digitally manipulated illustrations over original photographs- both clothing and relating patterns- to show how our focus has been lost to a society where initial appearance overrides stylistic factors. Alongside this, corsets were also a major focus, creating unrealistic images of how the body should be portrayed of which the 21st century society still does through social media, promoting an ‘idealistic’ image but for both sexes-"Throughout the nineteenth century, narrow waists were greatly admired. Women used corsets in an effort to get closer to a perfect physical form." This ‘perfect physical form’ ideal never was eradicated fully as now we see figures in our everyday life showcasing the normality of changing our appearances to fit
'DESIGN WAS
expectations; now more than ever we see a stress on men’s pressures whereas it was mainly women in the Rococo. I would like to progress my own work by looking at how the male figure is perceived, as the female body seems to be something we automatically go to when considering fashion and its development (which I have done by using only female models and researching relating feminine connections). Extravagance of fine details can be traced right up until the end of the 19th century, where Japanese culture made an appearance within silk dresses with the embroidery of floral patterns and exotic creatures, bringing us into the developed era of the 20th century. Exports from Japan to Western Europe emerged, first in the form of lavish slippers and fans with intricate embroidered designs, creating a new market and aesthetic for designers all around.
BROADENED TO STRUCTURE, RATHER THAN SOLELY FABRIC'
ALICE MARSHALL
BELLE ÉPOQUE Significantly the 20th century saw the shift into the Belle Époque era, introducing the S-shaped curve where "conspicuous waste and conspicuous consumption defined the fashions of the decade." Ornate outfits were a trend, again with a close reference back to the rococo and its development to the attention of the female figure's expectations, embracing a more curvaceous figure of elegance and lavish embellishment. The early 1900's were a principle starting point as this century was to begin a great historic timeline that changed rapidly through the years, specifically within fashion designing. Mariano Fortuny, a designer prominent in this time notable for The Delphos, saw the beginnings of such rapid amendments as further influences from various cultures were integrated into designing processes everywhere- "Fortuny started to design his Delphos around 1907 when a nostalgia for Classical Greece was beginning to be felt in fashion, art and theatre." The Delphos became a significant item, especially in the 20s, causing a great change in how fashion was perceived-"The Delphos was not created for the artificial form outlined by a corset, but was intended to show the natural beauty of a body's shape". Fashion begun to value natural beauty as it had never done before, encouraging a more minimal approach regarding how to style fabrics around the body. I explore this removal of artificial elements within my digital work, taking images from a fashion photoshoot and diverting the focus on the model and her clothing by using a black and white filter so as to illustrate simplistic drawings over the top instead.
ALICE MARSHALL
"THE EMOTIONAL AND ECONOMIC CONSEQUENCES OF WAR WERE MAKING ANDROGYNOUS DRESSING MORE POPULAR"
ALICE MARSHALL
LEADING ON FROM THIS, AS THE ROARING 20S WERE NIGH, THE ART DECO MOVEMENT APPEARED, OF WHICH "ITS NAME WAS DERIVED FROM THE EXPOSITION INTERNATIONALE DES ARTS DECORATIFS ET INDUSTRIELS, HELD IN PARIS IN 1925", BRINGING MORE RELAXED DESIGNING THROUGH LONG, LAYERED DRESSES THAT DREW LITTLE ATTENTION TO THE FEMALE FIGURE. HAUTE COUTURE WAS ALSO A PROMINENT INFLUENCE IN THE EARLY 1900S, AS FASHION DESCENDED INTO A MORE FUNCTIONAL CAUSE AFTER THE EVENTS OF THE WAR- "THE EMOTIONAL AND ECONOMIC CONSEQUENCES OF WAR WERE MAKING ANDROGYNOUS DRESSING MORE POPULAR". DESPITE THIS FALL IN ATTENTION TO LUXURIOUS CLOTHING, FASHION DESIGN DEVELOPED IN ANOTHER AREA AS MAGAZINES AND THE MEDIA BECAME FASCINATED WITH WHAT SOCIETY, IN PARTICULAR THOSE OF HIGHER STATUS, WAS WEARING"VOGUE TOOK ON THE ROLE OF INFORMING THE PUBLIC ABOUT WHAT WAS GOING ON, WHO WAS GOING WHERE, AND WHAT WAS BEING WORN." THERE BECAME A FUSION OF TRAVEL, NEWS AND FASHION WITHIN THE WORLD AND EVERYBODY, DESPITE CLASS DIFFERENCES, HAD THE PRIVILEGE OF INDULGING IN SUCH TOPICS OF INTEREST. THE 20S, OF COURSE ARE KNOWN THOUGH FOR THE EMINENT IMAGE OF THE 'FLAPPER DRESS', EMERGING ONLY IN THE LATER DAYS IN 1926. DESPITE THE ECONOMIC PLIGHT, THIS SPECIFIC DRESS, SEEMINGLY TO BE OF EXTRAVAGANCE, WAS ACTUALLY OF A CHEAP NATURE THAT ANYONE COULD MAKE. DESIGN WAS TAKEN INTO THE HOME, AS WOMEN BECAME DOMESTICATED WITH THE ART OF SEWING AND CREATION OF CLOTHING FOR THEMSELVES, OFFERING A CHEAPER ALTERNATIVE RATHER THAN BUYING PRICEY BRANDED CLOTHING- "SINCE THE STRAIGHT SHIFT DRESSES WERE SIMPLE TO MAKE AT HOME, FLAPPER STYLE WAS MORE ATTAINABLE FOR THE MASSES." I HAVE EXTENDED MY OWN SKILLS ALSO AS SOCIETY IN THE 20’S ALSO DID, TRIALLING EMBROIDERY AND STITCHING IN VARIOUS WAYS TO SEE HOW HIGH FASHION CAN BE USED IN THE HOME. SUCH INDIVIDUAL CREATIVITY ENCOURAGED EXPERIMENTATION AS YOU COULD NOW CUSTOMISE YOUR OWN CLOTHES IN A SPECIFIC WAY THAT SUITED YOUR STYLE; THIS LEAD TO A NEW LEVEL OF LIBERATION WITHIN THE FASHION INDUSTRY AS CONSUMERS WERE NOW DESIGNING GARMENTS THAT DID NOT NECESSARILY CONFORM TO THE CULTURE’S NORMS.
ALICE MARSHALL ALICE MARSHALL
MODEST CLOTHING
Practicality carried on throughout the 1930-40s also, embracing military values within fashion itself. The styling of hats were a popular introduction, as the war continued to create economic problems and shortages of any luxuries-"Large hats became popular because they could cover undressed hair and bring instant elegance to plain clothing." Decoration within clothing, especially for women, was nearly abolished as it was not a necessity and rationing restricted the range of materials and availability of well designed clothing in shops. This period saw the inclusion of shoulder pads within women's suits also, adding some structure to the shapeless items that were only for the purpose of the jobs the women now had to take part in. This is also where the inclusion of hats became involved, as women wanted to have some form of fashionable statement that would give personality to such plain designed outfits- "During the regulated period, when clothing had to be simple and modest, women tried to be fashionable by wearing large and decorative hats or turbans to spice up such sober clothing."
ALICE MARSHALL
'THE 50S IN PARTICULAR SHOW THE IMMERGENCE OF SWING DRESSES, BRINGING IN THE BUST AND WAISTLINE TIGHTLY TO ACCENTUATE THE FEMALE FRAME'
FREEDOM AND LIBERATION
The second half of the 20th century saw a dramatic change, as with war over people could finally embrace individuality and freedom within the fashion world. Alongside this, technological advances were being made, making it easier to be exposed to new and trending styles from across the world-"At the turn of the twentieth century, fashionable clothing could be seen, ordered, and sent anywhere in the world instantly thanks to media such as television and the Internet." The internet in particular has sparked greater interest especially in the 21st century also, as sites that we commonly use such as ASOS, Boohoo and PrettyLittleThing allow consumers to access new trends immediately and view a wider variety of instant fashion. This advancement was stimulated by the emergence of Christian Dior, re-establishing 'haute couture' for the general public's pleasing after such hard times of restriction in the fashion industry. Dior came in with the "New Look", which "tempted women back into the nostalgic femininity of corsets and, most controversially flowing skirts." The 50s in particular show the immergence of swing dresses, bringing in the bust and waistline tightly to accentuate the female frame and then a flowing skirt, often wore with a petticoat to add further volume and depth to the skirts flow. In the 1960s 'Prêta-porter' arrived as market demands increased; this was the creation of ready-to-wear clothing of a higher standard than before which quickly became popularised fashion. Quality met industrialised production with the readily available items produced in factories which was a huge success for those who were recovering from the impacts of the war financially; alongside this these products still remained as individual pieces of design work as 'Prêt-a-porter' was never mass produced-"While Prêt-a-porter is not necessarily mass produced, it is available to a wide variety of customers." This production created many opportunities for the fashion department as the public could now find standardized sizing that could cater to all body types as there was no need for tailoring for the individual.
ALICE MARSHALL
"BOTH MEN AND WOMEN GREW THEIR HAIR LONG AND WORE A HAND-MADE TYPE OF FASHION WHICH BECAME POPULAR WITH YOUNGER GENERATIONS AROUND THE WORLD."
ALICE MARSHALL
The late 60s/early 70s was a significant moment in history and within fashion as the Vietnam war inspired particular links to a change to embracing hippie styles of growing hair long and wearing handmade clothes-"Both men and women grew their hair long and wore a handmade type of fashion which became popular with younger generations around the world." Once again society was resorting back to self-sufficiency in the fashion industry, and with the common people making such a statement with these choices, designers themselves begun to become inspired and developed their own construction with such inspiration from the movement and protests-even in Paris. Following from this, the 70s oversaw the replacement of Haute Couture by Prêt-a-porter as it created daily clothing that was also fashionable at the time-"Haute couture was no longer the source of new trends, and prêt-a-porter took its place." Disco music and dance were an influential contributor in the late 70s, as outfits were made for such purposes of going out to nightclubs etc, this included maxi skirts and dresses of diverse pattern and colour that made a statement combined with the hippie, free natured effect. The 70’s is a specific time that I am highly influenced by as I feel that it was a turning point in both history and fashion. Society became liberated and begun to develop an individual voice to express your true feelings- whether this be politically or through what you styled yourself in to make an impression upon others visually which I aim to do through graphical communication.
ALICE MARSHALL
"FASHION BECAME HIGHLY INFLUENCED BY MUSIC STARS AND MOVIES WITH ECLECTIC LOOKS SHOWN OFF BY MADONNA, CYNDI LAUPER, AND MOVIE STAR MOLLY RINGWALD."
ALICE MARSHALL
80'S VINTAGE
Fashion once again evolved further in the 1980s, as serious designs of straight lines and longer skirts came back around. This renewal of clothing progressed to become something of common nature, as certain styles and items are seen back in production and similarly our modern culture now embraces the concept of ‘vintage’ restoration, especially for the younger generations. We recognize 80s fashion to be associated with the bright, mismatched combinations of loud statement pieces influenced by pop culture at the time- "fashion became highly influenced by music stars and movies with eclectic looks shown off by Madonna, Cyndi Lauper, and movie star Molly Ringwald." The likes of shell suits in bright colours and spandex was a common choice, especially for the popular exercise trends to wear vivid tights and leotards to workout in. Colour was a must, even being incorporated within makeup trends as neon pigments and trendy eyeliners which is a major contrast to the natural vibe of the late 60s/70s movement after the Vietnam war. Equally I have experimented with makeup as a method of drawing and illustration (mainly neutral tones like the 60s and 70s though), utilising it as a new artform to see how I can create bold looks within my sketches and work with a contrasting media. The impact of music upon fashion in the 80s was of great length, teenagers in particular looked up to their favourite stars, trying to replicate the wild looks of the stage into everyday life. It was a time of big hair, big personalities and most importantly the iconic shoulder pads. Most fashion within the 80s became unisex, both men and women wanted to wear similar items and trends were embraced for either sex- "we had hair to the skies and shoulder pads not far behind it, and the line between men's and women's fashion blurred."
'COLOUR WAS A MUST'
ALICE MARSHALL
'IT WAS A TIME OF DENIM, OVERSIZED CLOTHING AND LAYERING.'
ALICE MARSHALL
90'S GRUNGE
Recyclable clothing was a recurrent theme of design in the 90s, as the era of 'grunge' appeared upon the likes of Kurt Cobain"His greasy, bleached hair, pale waif-like body and thrift-shop clothes created the image of a strung-out, moody adolescent." Vintage clothing was the 'it' thing, gathering the most grunge-looking clothing from second hand shops to remain a cool member of society. It was a time of denim, oversized clothing and layering. Throughout even the 2000s, such hunting for quality vintage goods to make a statement is still popular, especially of the younger generation. Regarding fashion design in the art world, a more abstract approach has developed, creating great focus on large scale models for exhibitions and artistic influence rather than the simple edit for clothing for purchase. By incorporating my interests of the fashion world into my graphical progression I have also opened up a new window of how design is used in a various number of ways artistically, looking at printing, illustration and the manipulation of fabric for photoshoots to generate further ideas related to the structural aspects of fashion design. The use of technology also became an important area for the use of fashion design, changing how society can find inspiration and develop an independent mind as a personal designer for themselves (as Erika Bearman comments that "Social media has definitely changed the way I do my job.") which is widely used now in the 21st century through blogs, pages and websites featuring a variety of photographs, style ideas and articles to generate further evolution for the fashion society.
'VINTAGE CLOTHING WAS THE 'IT' THING'
ALICE MARSHALL
ANNA WINTOUR, EDITOR IN CHIEF OF THE WORLD-FAMOUS VOGUE, GIVES INSPIRATIONAL WORDS WHICH ARE DIRECTLY LINKING TO HOW SOCIETY TODAY HAS GREAT ACCEPTANCE OF DIVERSE CULTURE AND STYLE WITHIN THE FASHION INDUSTRY- "CREATE YOUR OWN INDIVIDUAL STYLE. I'M NOT INTERESTED IN THE GIRL WHO WALKS INTO MY OFFICE IN A HEAD-TO-TOE LABEL LOOK THAT'S STRAIGHT OFF THE RUNWAY. I'M INTERESTED IN A GIRL WHO PUTS HERSELF TOGETHER IN AN ORIGINAL, INDEPENDENT WAY." THROUGH TIME WE HAVE SEEN THE EVOLUTION OF FASHION DESIGN AND ITS IMPACT NOT ONLY ON WHAT WE WEAR IN SOCIETY BUT HOW WE HAVE SHAPED OURSELVES AS BEINGS. THE YEARS HAVE DEVELOPED, CREATING A MORE INNOVATIVE COMMUNITY AS DIVERSITY IS EMBRACED WITHIN OUR SELF-WORTH AND OF HOW WE PRESENT OURSELVES THROUGH WHAT WE WEAR. MODERN DAY SOCIETY IS NOW MORE ACCEPTING AND THE EXPERIMENTAL YEARS THROUGH FASHION ARE ONLY JUST BEGINNING. WITH THIS IN MIND WE CAN PREDICT HOW FASHION MAY PROGRESS FURTHER IN THE FORESEEABLE FUTURE; I BELIEVE THAT SUCH LIBERATION WILL LEAD TO BESPOKE HAND-CRAFTED ITEMS AS CREATIVITY IS EMBRACED BY THE INDIVIDUAL, TAKING A HANDS-ON APPROACH TO STYLE THEMSELVES RATHER THAN DEPENDING ON PRECONCEIVED STYLES. ALSO, HAUTE COUTURE HAS TAKEN A NEW DIVERSE DIRECTION AND I SEE THAT A BOUNDARY BETWEEN PHYSICAL ART AND FASHION INFLUENCES MAY BE CROSSED FOR STATEMENT PIECES OF IMPACT. DESPITE THIS THOUGH, THE PROCESSES OF SUCH BOLD AND INTRICATE RUNWAY DESIGNS MAY NOT BE SUCCESSFUL AS IT IS STILL NOT HIGHLY ACCESSIBLE FOR THE EVERYDAY CONSUMER SEARCHING FOR AN IDENTITY THAT IS AFFORDABLE TO THEM AND REMAINING PRACTICAL.
ALICE MARSHALL
BIBLIOGRAPHY: FASHION: A HISTORY FROM THE 18TH TO THE 20TH CENTURY (CONTENTS OF THIS BOOK ARE DIRECTED BY CHIEF CURATOR AKIKO FUKAI) THE COLLECTION OF THE KYOTO COSTUME INSTITUTE THE FASHION BOOK- PHAIDON THE TEEN VOGUE HAND BOOK- PUBLISHED BY THE PENGUIN GROUP HTTPS://EN.WIKIPEDIA.ORG HTTPS://WWW.BRITANNICA.COM/ART/ART-DECO HTTP://EMERALD.TUFTS.ED/-MLEE21/1900S.HTML HTTPS://WWW.MOCHNI.COM/THE-REAL-DIFFERENCE-PRET-A-PORTER-AND-HAUTECOUTURE/ HTTP://WWW.THEPEOPLEHISTORY.COM/FASHIONS.HTML HTTP://WWW.LIKETOTALLY80S.COM/80S-FASHION/ HTTPS://UK.PINTEREST.COM