Dissertation and Critical Reflection Broadsheet by emgreen8

CHALLENGING MODERNITY THROUGH IRISH DANCE

GRAPHIC COMMUNICATION ELLI-MAY GREEN FINAL MAJOR PROJECT

PROJECT

TRADITIONS

For my dissertation I will be going to go through the key stages that have impacted the cause of change, from the traditional concepts to the mirroring of fashion trends as costume designs. I firstly looked at the starting stages of Irish Dancing costumes, going through the Celtic identity and how this was expressed through the traditional semiotics of the Celtic symbol, as well as the traditional colours.

Irish dancing is a very traditional form of dancing as it is known for its Celtic identity, symbolised through the costume design with the use of colour, embroidered symbols and the way the costume is appropriately worn. There are some traditional traits on how the costumes should look, the designs would be covering the whole body from the dancer’s collarbone, and the end of the skirt ending at an appropriate length below the knee. This was known as the traditional Irish dancing dress when I was looking through all the historical background, the dress was mainly influenced by the traditional Irish ‘peasant’ dress, which was then adapted and developed using embroidered designs from the ‘Book of Kells’. This represents the importance of the cultural context, which is narrated through the design.

TRENDS.

The establishment of Irish Dancing as a culture was first acknowledged by Riverdance, furthering my research to the evolution of the costume change, visually through a commercialised modern perspective with ‘glitzier’ and ‘sexier’ interpretations. Leading onto a focus point of designer Keith Marron who follows the cause of change with his designs, with more controversial fashion led trends as his inspiration, contradicting the limit of the traditional identity. “The typical folkloristic approach to dress and clothing has been to focus on costume as something other than everyday dress. Don Yoder, in a rather dated view, describes folk costume as “that form of dress which outwardly symbolises the identity of a folk community and expresses the individuals manifold relationships to and within that community”.

This corresponds with the garments, as the dresses were made to represent a community, this meant individuals did not need to stand out but work as a chorus in unison with each other. The style of the dress was not ‘sexualised’ for women, the bodice had a loose fitting which didn’t outline womanly assets such as the breasts and waistline, as well as concealing the back view, this interprets that the dance was the main focus rather than the physical appearance of the dancer. This is evident as the style of the dress had more importance of communicating the cultural identity, with the traditional costume design’s being of a very conservative style, this emphasised the dance style and narrative through the garments and the symbolic designs. “It is as if the qualities are inherent in the garment or the textile; one just has to look at the garment to apprehend its meaning.

Classic semiotics which have paid scant attention to clothing as a communicative resource”.

” The purpose of the garment was to emphasise the Celtic identity and the cultural tradition of the dance through its style. In comparison with other dancing forms, they have their own internal conventions that are not traditional, as to having an idea on what the dress should look like. The conventions of a traditional garment were the use of the Celtic symbols, as well as specific colours that were put into the designs. “They imply that the structured system of meanings, a culture, enables individuals to construct an identity by means of communication”. This purpose of identity was originated in the eighteenth century using the traditional dance form against other communities, dancing in groups for social, competitive, and performance purposes to gain an acknowledgment within the Irish dancing community. This was communicated through their garments so people know who they are as dancers and where they are from amongst competitors. Understanding the change within Irish dancing costumes, followed the traditional conventions interlinking with the trends of fashion being incorporated. The traditional costumes had a primary function of expressing the Irish culture, when looking at the ‘Celtic identity’ of the designs. This was done through the Celtic symbolic features, incorporating the use of primary colours, as well as embroidered symbols to insinuate the cultural identity. There are traditional conventions based on what an Irish dancing costume should look like, this challenges how the aesthetics can change the overall conventions of a traditional garment in identifying the Irish culture. Fashion trends were not incorporated into the traditional designs of the costumes, when looking at the garments they were within fashion at the time. However the importance of the visuals did not compare to the importance of the cultural identity of Irish dancing as a foundation. In the twentieth century, the costumes underwent a series of dramatic changes in both appearances and production, questioning how the costumes still play a role in referring to the Celtic nationality. “I have discovered that Riverdance was a catalyst for, and factor contributing to, the current popularity of Irish dance. However, I also found that although Riverdance became popular overnight, it took several years for the trend to be visible in the global Irish dance community”. Understanding the cultural concept of Irish Dancing refers to a traditional dance that has been ongoing, however the big establishment of Irish dancing culture was first viewed

in a seven-minute interval act, known as the ‘River dance’ in 1994 Eurovision song contest. Riverdance costume has been the cause of change from the traditional costumes, as it can be argued that Riverdance has been one of the main influences of the cause of change, rather than reinforcing the tradition visually through costume designs. With the Pre Riverdance costumes they were viewed as very traditional with the use of velvet solid green colours, the material being very minimalistic and simple, for the focus to be mainly on the movement of the dance rather than the costumes itself. However due to the commercialised perspective of the dance the costumes became outdated, when responding to the change in the population and the fusion of new cultures, keeping up with the more modern era. “The previous costumes were elegant, but they decided they needed something more high-powered for Broadway.” This was the starting theory to the development of change for the costumes to be more relevant with the upcoming motion of the dance, rather than the original bespoke of the dance itself. This enforces the factors of it being up to trend with fashion as well as elaborating on the commercial conventions, when suiting tv screens and appealing to the audience.The evolution of the Irish dance costume had undergone a change, focusing on the elements of trends versus traditions that is built up within the design of the costumes. There are multiple key factors that have influenced the cause of change, as “the costumes should, for the most part, complement character and ‘serve’ narrative.” This being that the main purpose of Riverdance is its narrative, communicating “the evocation of the Riverwoman. As the power of the river grows, as the barren earth becomes fertile, our story rises until it floods the world in a vital, joyous riot of celebration Original Choreography: Mavis Ascott, Michael Flatley, Jean Butler.” This is expressed through the controversial costume designs with the designer Bergin reinforcing that change, “focusing on the” fashion slant” was much closer to popular culture. While the fabric sings of lrish tradition, the shape of the dress was inspired by the figure-hugging design worn by Victoria Beckham at her 1999 wedding at a castle near Dublin”. The narrative was to express the ‘Riverwoman’ interpreted through the use of design. Alongside the culture change with the popularity of river dance.

The foundation of the Irish dancing costume design.

Joan Bergin wanted to challenge the view on Riverdance costumes, rather than the traditional long sleeved, soft movable skirts that didn’t have an instant appeal. It was the cause of change to present Irish dance fashion, into an elegant mixture of tradition and modernity. River dance costumes were aligning with a popular mainstream have an instant appeal. fashion,rather than traditional costumes.

The Foundation Of Irish Dancing

Looking at the traditional based costume designs, there is a connection that represents the Celtic identity with the use of semiotics. This exenterates that there is more to the costume then the aesthetic, it has the practical dance based function.

RIVERDANCE

The narrative was to express the ‘River woman’ interpreted through the use of costume design. Alongside the culture change with the popularity of river dance. The costumes for Irish dance changed in response, to the new ways the dance form was viewed commercially fitting different conventions. The traditional costumes of Riverdance did not respond with the commercial appeal, to fit the expanded purpose as an entertainment dance form. The traditions and trends of the garments had changed, the garments become more fitted for a ‘sexier’ appeal as well as being ‘glamorised’ for tv screens. Riverdance become more modern, this occurred to keep up with the change in the modern era to be on trend. The fashion at the time was inspired by Victoria Beckham’s wedding dress with the corset waistline, which can also interpret that fashion trends were followed, celebrity endorsement was inspired challenging the tradition identity. The function of the Irish costume is different from other forms of fashion, the garment has a function beyond the expression of either the

designer, brand or the dancer. “Indeed, one of the primary functions of costume is to contribute to an audience’s sense of ‘suspended disbelief’. As Sarah Street argues in her book ‘Costume and cinema’, it is possible that there might be an “imagined embodiment” in process whereby the audience imagines that the character has exercised a degree of individual agency when deciding what to wear, just as they experience in their own lives”(200:7) This is evident when referring to the costume change, during the introduction of the Riverdance commercial designs. The limitation of tradition through the costume designs, gives dancers more self-expression when designing, being able to follow specific trends at the time.

The solo costumes became more ‘showy’ throughout the 1990s and 2000s, fueled in part by River-dance and its ‘glitzier’ and ‘sexier’ commercialised appearance for entertainment.“The second function, self-concept, includes the ways dancers see themselves as individuals, how they present themselves to the group, how they inwardly experience dance as a mediating activity between self and group, and how they use dance as a communicative resource linking them with other dancers”. There is more to the costume then just wearing a ‘dress’, it gives the dancer confidence and to be a stage performer, to be noticed as an individual. This relates to the aesthetic, accentuating womanly features like with the Riverdance costumes, exaggerating the waistline of the dancers to show their figure as well as being made shorter to accentuate the legs for the dance movements. This makes the individual stand out more “primarily costumes are fitted to characters as a second skin, working in this capacity for the cause of narrative by relaying information to the viewer about a ‘person’”. As well as being self-expressive the function of the garment is also to communicate a message, this is through the designs being more modern and on trend relating with an audience.

THE ESTABLISHMENT

The symbols that were used on the costumes represented the specific dance school the dancer attended, which is still relevant in the class dresses today. It also identified the Celtic Revival movement by the Gaelic league, which had historical importance when representing Irish culture which was transferred and communicated through certain designs. Many schools have an individual knot that is initially interpreted from the ‘Book of Kells’. Many of the Irish dancing costumes were very similar to a traditional dress, this lacked dancers standing out as an individual as all the costumes followed the same set of codes and conventions, making them all very alike in style. However, the formation of the dance was mainly danced in groups within a community which helped them to preserve their Irish identity, each community had a dance ‘master’ who would form formations to be danced in groups with men and women. “Kathryn Wilson defines ‘folk costume’ as “any manner of stylising, marking, or manipulating the appearance of the human body with culturally understood symbols and forms in a way that articulates and individual’s identification with a community”.

Each school was free to design their own Celtic designs from whatever sources or even are usually designed their own. Originally the designs would be very broadly based on the Book of Kells and other similar Celtic works of art to justify their sense of Irishness and use this on costumes”.

THE GARMENT

There is more to the costume then the aesthetic, it has the practical dance base function. “Dress as a verb is defined in terms of dressing oneself ‘with attention to effect’ and in relation to adornment and array”. Relating to the aesthetic in which the dress is designed and the amount of detail, it characterises an individual to be able to be creative and self- expressive to build an identity through the garment. There is Input from the dance teacher, as they want to exenterate strengths within a dancer as well as masking flaws. “The goal is to enable women to express themselves with more interesting and exciting clothing. For the majority of male dancers, the expression of self-concept is less overt”. This underlines the importance of the costumes functions, the main feature being the enhancement of the dancer’s strengths, elaborating posture and overall the visual presentation which is built up through the stages.

DANCE STATUS

Understanding the functions of a costume and how they are perceived by the audience and judges, links back to the traditions versus trends concepts. The beginner dancers are allocated to be in very traditional clothing, keeping it simple, and having limited representation of a design. However, when looking through the adjudicators ruling, they have also evolved with the change with the dancer’s garments, the older the dancer the more limited the traditional costumes are viewed or worn. It is argued that the presentation feature for the older dancers is of equal importance as the dancing itself. The different stages within the competition builds a hierarchy of dancing levels. Each dancer participates in the stage to build a status as you go through the stages. An individual that builds high status is able to be more self-expressive with their garment designs, as they have to stand out amongst the different competitors being unique. The costumes play a vital role within the competitions, this contradicts the traditional dance form being outdated to the ruling now, and the way Irish dancing is presented. The older the dancer gets when working up through the stages, the competition alters adjudicators ruling for costumes. Accepting garments that are more accentuated and exaggerated, with ‘glitzier’ and ‘glamorised’ accessories. “Experienced dancers evaluate one another’s dress as a matter or course and can be differentiate between other experienced dancers and newcomers simply by looking at their clothing”. Although intricate designs do not necessarily mean they are better, it initially adds status to the dancer through the design. It can also be argued that the older the dancer the more ‘sexualised’ the garment becomes, allowing skirts to be above the knee, and the designs varied. This is through the expression of fashion trends, amongst the female competitors enhancing womanly assets. Some still follow the traditional Celtic designs, but many seem to have left them behind for more modern shapes, with the skirts shorter, the bodices tighter, and the crystals are more pervasive.

HIERARCHY STATUS

GARMENT FUNCTIONS

River dance costumes were aligning with popular mainstream fashion, rather than traditional costumes. The culture of Irish dancing changed because of the culture changing from how popular river dance became, with the costumes for Irish dance changing in response. Keith joins with the introduction of ‘Rising Star’ as a brand starting five years ago, it is viewed that he is an influencer for the cause of change from the traditional costume designs to the more fashion-based mainstream trends. This is reflected through his costume designs to be more modern, and symmetrical with the fashion trends at the time. However, this can also cause negativity amongst other designers as well as adjudicators, as he limits the sense of tradition within his costume designs for dancers. Adjudicators still like the incorporation of tradition; however, the younger dancers want the high fashion designs as they want to be ‘glamorised’ and ‘stylish’. As a brand ‘Rising star’ is very traditional which initially would interpret that his dresses would look more traditional, when looking at the way he brands his company. He uses the Celtic symbols as an identity, which contradicts with his dress style’s. It suggests that ‘Rising Star’ as a brand is trying to do new things, which links back to my trends and traditions in Irish Dancing costumes as he is balancing the cultural identity with his brand.

CAUSE OF CHANGE

Focusing on the concept of the cause of change, and the evolution of the Irish dance costume’s and his references to the traditions and trends within fashion, Keith Marron head designer of ‘The rising star’ dress company has an ethos communicating his influence cause to the change. “We are not here to do something different, but perhaps just better. Customer care is paramount, with original design work, top quality workmanship all coming under this key point, to make customers happy.” This highlights that the traditional concepts are important, however he encourages the cause of change of the costumes. Through his designs he associates his inspiration by linking with trends within fashion in today’s media, highlighting celebrity endorsement for his designs. His interaction with the clients is based on the dancers five pictures of their favorite dresses to interpret their taste, not necessarily to copy but to find out if they like Celtic, geometric, detailed not so detailed insight of the fashion aspect of the costume. This links with the trends of fashion rather being idealised rather than being traditional.

The term ‘costume’ has become problematized in textile research, largely because it is associated with |specific venues, such as theatre and festival. Similarly, the term ‘fashion’ is associated with temporary and class- distinctive modes of clothing behaviour.”

RISING STAR FIVE YEARS STARTING UP WITH2012 TRENDS TO CURRENTDAY

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“We

done individual garments according to semiotic, as well as normative, rules, and each garment functions as part of an ensemble, or outfit, the whole of which conveys one or more messages, simple or complex, aboutourselves. And when we go forth, clothed in messages, other people our self-definitions unconsciously and as consciously, as we do theirs”.

DESIGNER

Designers of haute couture were therefore not only considered the creators of fashion as ‘art’, but also the creators of public taste.” Many designers have different design and production processes when interacting with their clients, this varies on how much input the client can have when corresponding with a particular design. The way Keith Marron works is to understand the dancer himself, to get more of a personal idea of the sense of style and personality. This helps to elaborate his creativity with his designs, to be narrated through the costume. The client will send through rough ideas, mainly fashion inspired outfits, promoted by celebrities as well as the most up to date trends on the catwalk at the time. The key influence of the dress designs are examples of dresses within fashion, this is from photographs and celebrity endorsement, advertising the garments. This is evident in the images (left) the influence of fashion and celebrity endorsement, having an influence on designs made by his company. “Dancers frequently make clothing decisions that require balancing the functions of practicality, personal image and self-concept, and group identity”.

“ Fashion appears

to be a subset, retaining its temporal, class conscious connotation as an elite mode of dress whose primary function is the display of social class and status, wealth, and preoccupation with sartorial novelty”.

Rising star influences the cause of change, like other forms of fashion trends they change, catwalk fashion changes every year there is not a set of traditional conventions. When looking at traditional trends such as tailored suits, there is traditions of something that stays. Looking into why the branding is within the lining of each garment, contradicts the outside. It forms a relationship between the balance involving the traditional and fashion trends concept. Although he is causing change he is also linking back with the Irish identity, however it is not visually presented. As a designer one of Keith Marron most controversial designs was a ‘mirror dress’ worn by ‘Sophie Reilly’, this had limited design on the garment classing it as creating a costume that was a form of art. This is could be the establishment for another cause of change for Irish dancing costumes, the use of art rather than specific designs and traditional symbols used on a dress. His way of working is the expression of creativity, which lies between trends and traditions amongst his dress designs.

“Within the spectrum of clothing that is considered to be practical as well as suitable for dancing, some dancers express a desire for uniqueness”.

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The costume’s show status as a dancer in the competition. An intermediate championship’s competitor can wear a tiara, earning it as you work up the hierarchy. This is demonstrated in a lot of other places such as the uniforms in the army, hospitals and the church showing the different levels, elaborated through uniforms and costumes. Keith Marron designs throughout the hierarchy, designing dresses for different competition levels. The older costumes are designed with more diamantes, tiaras, and intricate designs, reflecting a status within the dancing community as you become more acknowledged as a competitor. It is also down to the wealth of the dancer the bigger and more elaborated the design the more money used for the production, stating status as well as the wealth of the dancer.

His way of design is the expression of creativity

Looking back through my dissertation and understanding how the change occurred, how the Irish dancing culture evolved with the change following more traditions or trends. Is challenged not only from designers, but also from the change in the modern era. Being more passive to traditions and active to ‘celebrity endorsement’, being vulnerable to the influence of social media. Working in relation with other dance forms, being overpowered with the acceptance of beauty and in the way we should look.

We dance for laughter, we dance for tears, we dance for hopes, we dance for screams, we are the dancers, and we create the dreams.”

It is able to tell a dancer’s story through the dress, this can be done through a theme, culture or style that is communicated. The amount of input a client has with Keith Marron the designer varies depending on the look of the dress. Every dancer is allocated a time for Keith to personally go through their ideas where he can express his creativity, with the design ideas they are not allowed to give a full design, limiting the expression of the dancer as they need to be noticed as an individual. “We don individual garments according to semiotic, as well as normative, rules, and each garment functions as part of an ensemble, or outfit, the whole of which conveys one or more messages, simple or complex, about ourselves. And when we go forth, clothed in messages, other people our self-definitions unconsciously and consciously, as we do theirs”. The dancers as well as the teacher approve the dresses, as it needs to insinuate a self-expression for the dancer and how they are as a dancer and to exaggerate their identity that stands out amongst other competitors. “While fashion is in style, not all fashion is an item of dress; as noted, some fashion involves changing the colour or shape of the body”. Keith Marron understands that trends play a massive role in the designs for the garments, however trends do have to constantly end up repeating. The costume designs are accentuated with having crystals aligned into them, this has been part of designs for at least fifteen years, before that it was sequins, before that hologram materials. Crystals does not insinuate a current trend, they are just an evolution of the costume design which replaced holographic material’s and sequins. Crystals should add to the design however should not be the design, as the costume needs a narrative to communicate a self-expressed purpose visually for an individual. “Within the spectrum of clothing that is considered to be practical and suitable for dancing, some dancers express a desire for uniqueness”. With the contradiction of his designs being highly fashion based, his balance between traditions and trends is identified through his companies branding conventions. Each individual dress is lined with his logo and Celtic symbols, however the outside that the audience views is very different and controversial, with more modern trend designs. Making the object of the dress sit right in the middle of the trend and traditions concept, referring to the balance of the evolution in the garment. He has hidden features within the dress such as words of positivity, matching zips and the traditional lining, with the outside having very little resemblance of the traditional brand. There are strict rules following the codes and conventions of an Irish dancing dress, this altering depending on the stage the dancer is competing at. There are rules within age groups that vary, based on costumes designs. It highlights what is known as appropriate, and how much the garment should cover the body. In the championships all the rules must be obliged otherwise disqualification can occur, this goes by the length of skirt depending on the age, as well as bare legs or covered. The use of appropriate garments for under twelves in primary stage, is either to wear a school costume or a beginner’s garment. The beginner’s garment must be simplistic, dark green or black skirt, with a plain shirt. The boys to be in black trousers, and a white polo shirt. This Interprets that at this stage, the dance movement is the most important to work your way up through the competition, building a status. The status is shown through the use of the design in the garments. This links directly back to the traditional concept of Irish Dancing, with the use of simple costumes and the focus being on the movement of the dance rather than appearance. “We are trained into clothes, and early become practiced in presentational postures, learning, in the age of mechanical reproduction, to carry the mirror’s eye within the mind, as though one might at any moment be photographed”. The beginning stages are vital to gain confidence, as well as the mastering of posture and understanding how to present yourself as a dancer linking with the entertainment purpose established by Riverdance.

Riverdance is the foundation of Irish Dancing acknowledgement for many consumers. This is relevant as a starting point into understanding if print was modernised in correspondent to the cause of change with the garments.

TRADITIONAL ELEEMENTS

“ The intense colours in the costumes, set and lighting reflected the heightened emotions of the characters, and their drive for ultimate stardom”. (Riverdance,2019) When being compared with the previous garments, this art direction for the advertisement of Riverdance does not make a corresponding relationship. With the sense of having a cultural purpose. However, it relates with the overall function of the garments being that, “The core dynamic of this function, whether expressive or experiential, is aesthetic”. (Riverdance,2019) The Modernised garments are being reflected through this more Modernised publication for a visual concept. he immediate engagement with the costumes of being ‘glitzier’ and ‘sexier’ with very little traditional traits of codes and conventions. Michael Flatley being presented (Left image) in leather jeans with a customised ‘glitzier’ leather jacket, makes it relatable with consumers of Riverdance, as well as being on trend. Rather than the traditional waist-coat and trousers with designs that symbolised culture from the Book of Kells. The traditional identity has been overpowered by the ‘popular culture’ style.

FOUNDATION

RELATIONSHIP OF GARMENT

CAUSE OF CHANGE

This furthered my research into current Dancing magazines. In particular focusing on their visuals and use of graphical elements. Understanding the way in which they would communicate their more modernised sense of identity. Irish Dance Mag Culture “is the world’s leading magazine and website dedicated to Irish Dancing and Culture”. When deconstructing the visuals, it makes a clear link with the conventions of Riverdance. However, stating the purpose of the magazine being of a ‘culture’ magazine, does not make a corresponding link when referring to the traditional background. The graphic elements displaying a commercialised figure as a focus has a reference of a ‘popular culture’ style. Initially making an interpretation of a “culture” that is based on the tastes of ordinary people, attracting a vast number of consumers rather than an educated elite.” (Crossman,2019) This style of popular culture corresponds with the way Riverdance modernised.

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RISING STAR FIVE YEARS STARTING UP WITH2012 TRENDS TO CURRENTDAY

“ The previous costumes were elegant, but they decided they needed something more high-powered for Broadway.” Referencing from my dissertation, that Riverdance was the cause of change from traditional conventions. The publications and advertisement visuals for Riverdance I argue, limits the Celtic identity for consumers. There is not a direct interpretation from first impressions, of the background that the dance has with an expression of culture. This contradicts the communication of a cultural performance. The key features of the Irish identity through the design is the expression of the semiotics influenced by the book of Kells. This is not transferred through the print platform. Looking at the evolving change of the garments, the use of vibrant colours, is not visually expressed in the publication. Specifically, when focusing on the impact that Riverdance had, being a commercialised performance for the more modernised garments as an appeal.

Expressed through the use of visuals, “any manner of stylising, marking, or manipulating the appearance of the human body with culturally understood symbols and forms in a way that articulates and individual’s identification with a community”. (Mcdermott,2002) The identification referencing elements of an Irish culture, is the visual features of wearing a segment of the traditional uniform. With the use of body language, in a dance position. The wearing of the dance shoes signifies what dance is being displayed. However, the other elements of the traditional uniform are not visually communicated. The dancer is dressed in a ‘ordinary’ dress, rather than a statement garment that has been modernised for a ‘glitzier’ appeal. Which would be more visually engaging for the corresponding link, with the evolving cultural representations. The traditions of Irish culture indicate that it has lessened, as they want to focus on more modern trends, which is expressed through the choice of fashion.

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However, putting these processes into a highbrow way, when referring to print.

INFLUENCE OF FASHION

However, my focus is going to be on a different type of modernising. Rather than using the style of popular culture I will be reflecting on how the highbrow culture has had an impact on dance editorial magazines. Comparing both styles of the Modernising, and how they communicate in different ways through their choice of style. This section will firstly be looking at the New Times magazine, furthering onto the way it is being modernised with the influence of fashion. Linking in the same way as costume designer Mark Howard, when he is creating highbrow as an artform. Modernising with a highbrow style, relates with my design elegance. This attracts a different consumer, in comparison with popular culture. In contrast with a highbrow art form, which I argue is sophisticated, cultured, and respectable. Highbrow consumers usually have money, they are people who appreciate things that are classed as highbrow. “Highbrow” is synonymous with intellectual; as an adjective, it also means elite, and generally carries a connotation of high culture.” (Educalingo,2001) This becomes very much a signifier to my Final Major Project; the term highbrow establishes the style and concept of my design. Still linking with my dissertation of traditions being Modernised, focusing on the publications evolving with the ‘highbrow culture’. For a higher fashion, high culture representation. The same restructured processes apply, when looking at the evolving change in costume’s being modernised. However, putting these processes into a highbrow way, when referring to print.

Putting these processes into a highbrow way, when referring to print. When researching into more highbrow publications for dance, Dancing Times gave the conventional style of being Modernised in a high fashion way. These two publications from Oliver in 2018 and Gray in 2017, were part of an influence for my work. Giving it more of an art form, sophistication and a Modernised perspective. “Dancing Times, first published in 1894 as the house magazine of the Cavendish Rooms, London, a ballroom dancing establishment, is the oldest monthly devoted to dancing. It was bought in 1910 by P J S Richardson and T M Middleton and transformed into a national periodical, covering all forms of dancing, and reporting worldwide.” (Oliver, 2018) This was very similar to Riverdance, the way it was acknowledge as a catalyst of being worldwide with different dance forms. However, in comparison with the commercialised ‘glitzier’ interpretation, Dancing Times is very much the opposite. With their visual interpretations focusing on the movement and structure of the dance, rather than other graphic elements of popular culture. With the contrasting tones of minimalistic elements of typography, photography and the layout for presentation. This gives a highbrow perspective as well as the linking with the theme of modern fashion.

The use of the colour emerald green gives a psychological representation of the meaning, “The colour green cropped up again during an effort in the 1790s to bring nonsectarian, republican ideas to Ireland, inspired by the American revolution and the French revolution.” (Waxman, 2017) With this use of colour, the Celtic symbol of the shamrock is emphasised as an identity feature. However, this publication has consumers idealising over the beauty, fashion and glamour. These code and conventions use the same engaging processes as Riverdance, particularly targeting younger teen consumers for the ‘popular culture’. This art style gives an indication that Modernised Irish Dancing publications are being commercialised, in the way the garments are being made. With the stereotypical celebrity magazine, having a ‘celebritised’ agenda. This is establishing my argument from my dissertation also applies to print.

EXPRESSION

The deep contrasting colour between the black and white elaborates on the design, inflicting a sense of style. Recreating the minimalistic style for my own work, allows the image to be more expressive.

Modernism Impact

“ The most common reason is to remove dominance from colour. This way, the attention is redirected for the content and for practical aspects like shapes, lines and textures.” (Fonte, 2017)

Each dance garment is presented through the movement and structure of the focused figure. “By the 1980s creative British fashion, indeed a whole style of product and graphic design, was fixed into a profile tellingly described by cultural commentator Peter York as “punk and pageant”. This style drew on a unique combination of history, tradition, and street culture, which was to shape ideas of creativity and national image in Britain for the next 20 years.” (McDermott,2002:20) This interprets that the traditional codes and conventions of graphic elements within print, were modernised in the way publications were to be presented. Specifically, when designing for a historic, traditional context.

The art form of the dancer is the specific focus, this is emphasised with minimalistic features. That has had an influence on my work. The second publication of Dancing Times designed by Jonathan Gray for the November 2017 issue, was my leading influence for the creation of a modernised highbrow style

Linking with the concept of fashion, in relation to Riverdance. The commercialised, ‘glitzier’, ‘sexier’ garments to attract visually, became the fashion challenge amongst many brands.

Editorial Focus

Removing colour from a picture allow us to appreciate a common situation with new eyes.” (Fonte,2017) Challenging my design further with the glitching of the black and white images, reinforcing the change in movement of print as well as the fashion perspective in how fashion is displayed. Challenging the boundaries of clean-cut highbrow stereotypical photography, with the abstraction of a graphic element. “The glitch,” the visual of a pixelated or off-register image has firmly become part of modern design culture, defining the newest chapter in the art world’s eternal fascination with distress, deconstruction and the eerie beauty of the concept of imperfection. Challenging as a designer to infuse the conventions of popular culture, in the same way highbrow culture is viewed. Taking a design and attracting different consumers, with the modernised style. Emphasising more on the patterns and textures the graphic element has, rather than the stereotypical popular culture conventions.

Glitching images have become a defining trend, how digital errors become an aesthetic. The visuals of a pixelated image have become part of modern design. “It is ubiquitous, and we have seen it emerge in fashion, branding, TV and film, as well as packaging and out-of-home campaigns. Although searches for the term glitch had only increased by 32 percent from the previous year, our internal creative and trends review team noted its potential to climb further in the design ranks this year. I don’t believe we have reached peak glitch yet.” The catalyst of the glitch trend was on The New York Times magazine, which became a central trend within the fashion industry.

This had a drastic influence on the way I then elaborated my designs, with the use of black and white image to be glitched to show the impact print has on a design style. The sense of imperfection contradicts my communication theory, as Irish Dancing exaggerates the sense of having to be ‘perfect’. Which is elaborated in my dissertation, the buildup of having the perfect garment as a status of fashion. Linking with the concept of the status known for highbrow. Referring to my editorial structure of design, when looking at my magazine content. I used elements from the first Dancing Times image, with the incorporation of typography colour. I kept my photography black and white, to eccentricate the patterns and textures within the photography as a modernised style. “At the same time B&W changes perspectives, it can give mystery to a photo. Since the subject is “hidden” from a glance, it may take more time for the viewer to realize what he’s looking at. Combining this mystery with surrealism is a powerful combination.” (Fonte,2017). The “hidden” sense relates to the interpretation of the cultural identity being hidden. The lack of traditional Irish culture conventions is expressed, when looked further into the image when noticing elements of the garment.

Trend Change

GLITCHING IMAGERY

The appropriate use of typography, using simple, clean body for readability emphasises the minimalistic influence it has on my design. The use of colour used on the first publication, adds to the minimalistic highbrow style, referring to the couture of the dance. I incorporated the colour bright purple into my design, to make a contrasting tonal element against my use of imagery. I used this colour as when researching further into the psychology behind colour. “Colour plays an important role in how your brand is perceived.” (Ferreira,2018). This elaborates on the brand style being of a highbrow consistency. Using the psychology of colour to understand how this can change the perspective of how it is communicated. “In colour psychology, purple is a royal colour. The colour meaning for purple is connected to power, nobility, luxury, wisdom, and spirituality.” (Ferreira,2018). The understanding of purple made a corresponding link with the theory of Irish Dance, as well as highbrow culture. The ‘power’ of the dance garments being modernised, with the ‘luxury’ of the conventions of style portrayed through print.

“ From the beginning their work set the agenda for key themes in British fashion, which continue to be explored. These included challenging sexual boundaries, borrowing ideas from street culture, and the raiding of the history as a way forward for the contemporary fashion.” (McDermott,2002:20)

CHALLENGE BOUNDARIES

Vivienne Westwood was designer for the traditional ‘couture’ collection. I have incorporated Vivienne Westwood into my research as a corresponding link, with the traditions of fashion evolving. Similar to the Irish Dancing garments. This influenced my work, designing an interpretation of a modernised fashion look book. To experience Irish Dancing through a highbrow fashion perspective. With the target being for a highbrow consumer, this influenced my work when designing with the use of colour and conventions of a highbrow style, translated by Vivienne Westwood within fashion.

“ Westwood is renowned for her parodying of English looks, her innovative take on traditional tailoring and use of materials such as tartan and Harris Tweed.” (McDermott, 2002) Incorporating tradition and modernity, through the garment of a traditional uniform. The way her work is visually displayed, interprets a sense of high fashion. When taking traditional culture and making it high culture, forming a ‘couture’ style. “I take something from the past that has a sort of vitality that has never been exploited – like the crinoline – and get very intense. In the end you do something original because you overlay your own ideas.” (Vivienne Westwood) (Mcdermott,2002)The use of tartan making it fashion, changing it to fit a higher art, is how I want my work to be branded. Vivienne Westwood’s admiration of the high-culture achievements of the past, expresses the passion through her fashion interpretations.

Deepening the visual understandings, the way Vivienne Westwood is presented insinuates a powerful figure (above left image) within the fashion industry. This links with my design work making it of a high brow art form context. As well as looking at how fashion has influenced and categorised modernised change. I furthered my research into how this was then presented through print, how visual representations of Vivienne Westwood still interpreted a highbrow culture. Looking at ‘The gentlewomen’ magazine, gave me an insight into Vivienne Westwood. Focusing on her designs and style, as well as how they felt she would be presented as an icon through print. The context of Vivienne Westwood designs communicates the foundation of change, and the evolving fashion. “It spoke to a feeling Vivienne had that people themselves, in their complicity with mass production, were becoming mass-produced, manufactured, without history, context or the personal creativity that fosters deep purpose and satisfaction.” (Orr, 2014) Argued that modernity was changing fashion similar to the Irish Dancing garments. Limiting the sense of identity and cultural purpose, argued in my dissertation. “To me, they are for somebody who doesn’t necessarily want to stand out – I do – but who wants to walk tall, you know, to look good. Important, even. The key is that they’re really heroic.” (Orr, 2014) This sense of ‘heroic’ representation, is reflected through the print platform with the graphics of a black and white portrait.

VIVIENNE WESTWOOD HIGHBROW COUTURE

It is able to tell a dancer’s story through the dress, this can be done through a theme, culture or style that is communicated.

The minimalistic style of her in both images, reflect the power of fashion and the way it is communicated by consumers. This minimalistic style transfers a sophisticated, elegant persona, linking with the style brand Vivienne Westwood creates. Applying the same processes of modernising, through print. This influenced my work, in particular the use of incorporating photography. (left images) The strong body language, allowing the garments to speak for themselves. “It’s not just Vivienne who looks great in her clothes. The genius of her draping technique lies in its ability to complement every shape and size.” (Orr,2014) Not necessary relying on colour, but the intricate details of the garments. With my work I followed fashion inspired poses, to focus on the Irish Dancing garment. Allowing for the fashion to speak for itself, which Vivienne Westwood inspires. Through the print perspective, this style limits the use of colour and use of ‘popular culture’ graphic elements. Reinforcing a highbrow culture.

Leading onto designer Mark Howard challenging the Irish Dance visuals further, through his work for Trinity. “In 1994 and 2001, Howard was named one of Irish American Magazine’s “Top 100 Irish-Americans” for his innovative work in Irish dance. In 1991, his PBS production of “Green Fire and Ice” aired nationally, and in 2002, PBS began airing “One Step Beyond.” Howard’s early work found a common rhythm and movement between African and Celtic dance, which was an integral part of the 1993 Emmy Award-winning PBS special “World Stage”. (Howard,2001). His representation of the dance limited the designs from the garments as the focus, to display the dance as an art form. Visually very similar to Dancing times, with the focus on the movement of the dance. I would argue

that it identifies more of a Celtic Identity. With traditional traits, focusing on the dance movement rather than the modernised importance of the garments. His style of making Irish dancing modern through print, allows me to understand ways print is evolving with the modernised garments. Looking at Mark Howard for trinity and the way he works, portraying Irish Dancing in a more modern style. Influenced me to reference his work for my inspiration. using his images as well as using his style to recreate my interpretation of the modernised highbrow elegance. With the other elements influencing my work, I was able to make my design using the different contexts. With the key features established in conventions to highbrow fashion, translated through my print design.

Looking back through my Critical Reflection and understanding how modernism can change in different ways, communicating Irish dancing culture through print. The evolution of the change still contradicts the following, between traditions and modernity. It Is challenged not only from fashion, but also from the change of print production and following a highbrow culture. Being more passive to attract â&#x20AC;&#x2DC;wealthyâ&#x20AC;&#x2122; consumers vulnerable for their money, rather than giving people the acknowledgment of the cultural persona.

PROJECT

REFERENCES

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FASHION

ELEGANCE

DANCE