Fashion: From the year 2000 to date

JENNY SHIPLEY

FASHION FROM THE YEAR 2000 TO DATE

ANDROGNY TREND

FURTURISTIC FASHION

SPORTWEAR TREND

FASHION IN CONTEXT: APPRAISAL

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CONTENTS Introduction 03 Androgyny 06 The Origins of Androgyny 07 Futuristic Fashion 11 The Origins of Futuristic Fashion 13 Sportswear 15 The Origins of Sportswear 17 Specific Trends Low-rise Flared Jeans 19 The Thong 20 Trend Prediction 21 Conclusion 23 Bibliography 24 References 25 Image References 25

Appraisal .

Fashion in Context

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INTRODUCTION

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Fashion trends from the year 2000 to today can only be described as an integration of a variety of styles inspired by past trends, from the 1960s,1970s and 1980s. Many factors have influenced this period including, globalisation and the affects of technology and lifestyle.

The appraisal demonstrates how fashion is always progressing and how contemporary events may impact current and future trends. The three predominant trends explored are Androgyny, Futuristic Fashion and Sportswear, alongside more definite trends that have emerged during the 21st century.

Androgyny has been a key trend during the beginning of the 21st century and many contemporary designers such as Vivienne Westwood, Céline and J. W. Anderson continue to reference androgyny in their collections; creating masculine tailoring for women and heeled footwear for men. J. W. Anderson explores unisex concepts and applies a neutral approach to gender through his fashion designs. The CK One unisex scent that was released in the mid­90s inspired Anderson to create designs that appealed to both men and women (Healy, 2016). His primary intention was to create a balance in the fashion industry and to develop new ideas towards the theory of gender.

Designers are continuing to produce clothing that breaks the barrier of gender confinement. Gucci recently worked with androgynous influences in their 2016 spring/summer collection. Their garments depict flared 1970s silhouettes and “vintage Bowie androgyny” (Doig, 2015).The appliqué on suede evidences the notorious Woodstock festival and combines androgyny with the bohemian look. The collection has clear connections to the hippie culture in the 1970s, where men experimented with growing their hair and wore progressive clothing which embodied no gender boundaries.

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Fig.5. J.W. Anderson's Androgynous Collection

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THE ORIGINS OF ANDROGNY Androgyny is an appearance which combines masculine and feminine characteristics, often seen in the fashion industry, lifestyle, gender and sexual identity. The term connotes 17th­century Western European styles that played with the androgyny; through the use of stockings, petticoats and elaborate wigs. Chevalier d’Eon, 18th­century French diplomat, spent the duration of his life acquiring both masculine and feminine clothes. The trend was re­established in 19th century Paris, where Amantine Lucile Aurore Dupin sported male trousers and jackets; against her feminine features and beautiful long hair (Townson, 2016). The trend resurfaced again in the 1920s; many women fashioned a boyish silhouette and short bobbed hair. The woman’s land army helped the transition of women wearing masculine cuts and manly footwear. Women began to feel empowered through their clothes and used them as a declaration of equality and liberty (Adil, 2011). Cinema culture was responsible for men starting to take pride in their psychical appearance. James Dean was an iconic figure in the androgynous transition and pioneered the heterosexual movement for men. The 1970s saw the most influential androgynous figure, David Bowie, who embraced and contradicted his sexuality and gender. He was both flamboyant and adventurous with his femininity and masculinity; leaving a legacy that continues to influence future fashion trends. Bowie helped women explore their masculine side while keeping ladylike. Also, he inspired men to experiment with their inner femininity, without neglecting their masculine persona (Armstrong, 2016).

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FUTURISTIC FASHION Fashion was primarily inspired by technology during the early 2000s, which resulted in monochromatic futuristic designs, which were a consequence of the of the millennium; stimulating the rise of metallics and shiny black and grey fabric. Mesh tops, leather and box, pleated skirts and metallic silver and gold handkerchief ups were particular pieces associated with the futuristic movement. Theses technology inspired garments were dark and reflective and many leading designers engaged with these characteristics in their collections. Lanvin’s Fall 2001 collection was almost entirely black, referencing a matrix feel, that integrated technology and the media. The futuristic movement came from the need embrace urban and industrial life. There was a desire for futuristic lifestyle, centring around new technology and design.The trend re­emerged again in 2012, software developer Daniel Schatzmayr collaborated with fashion designer Anouk, creating a robotic spider dress. Technology is dominating and driving the fashion cycle because we live in a forever increasing digital culture. Fashion designs will become complicated constructions with the rapid growth of technology.

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THE ORIGINS OF FUTURISTIC FASHION Futuristic fashion originated from the Italian modernist movement and the literature of Filippo Tommaso Marinetti’s Manifesti du Futurisme. The movement was a reaction to the bourgeois clothing in the begging of the 1900s. The main principles of Futuristic design elements were dynamism, speed and movement. Sonia Delaunay began the trend in 1913, by producing a colourful painted modern dress, with dance being the driving force of the creation. Fritz Lang’s Metropolis, built in 1927, had a significant impact on the progression of design. The film embodied Modernism and the ideas of industrial society. The 1960s youth movement explored new technologies and textiles to construct space age, futuristic fashion (Butchart, 2013).

1960s designer’s Paco Rabanne and Pierre Cardin et al, pushed the trend further by using non­traditional materials to enhance their atomic age collections. The trend reached peaked with Jane Fonda’s seductive space suit in Barbarella, showcasing Paco Rabanne's space­age chic. Futuristic fashion continued to dominate the entire duration of the 1960s.

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SPORTSWEAR

The 21st century has seen a revolution in sportswear that is integrated into everyday life. It's common to see chic attire paired with Nike running shoes, as a consequence of high fashion using sportswear as an inspiration. The fad has filtered down to the high street market, making sportswear acceptable for most occasions. Research and marketing company, Cotton Incorporated stated: “more than 9 in 10 consumers say they wear athletic wear for activities other than exercise” (McKenzie, 2016). They suggest the increasing figures are down to a current fitness explosion and many are embracing the wellness trend, amongst all demographic groups. The NPD, a market research group state “consumers are drawn to its comfort and versatility, and the fact that it still makes a fashion statement” (McKenzie, 2016).

Sports brands and non­sports brands have been renown for using celebrating endorsement and collaborations with fashion designers for their marketing campaigns. Trefis predicts “the global sportswear market will reach $178 billion by 2019” (McKenzie, 2016). These statistics are based on consumer behaviour and increasing sales on sports apparel. Net­a­porter has launched a Net­a­sporter, a chic sportswear range. Other brands are joining the trend such as, H&M, Gap and New Look, who have introduced their sports range. E­tailers Misguided and Boohoo are adopting the fitness phenomena by integrating sportswear into their existing fields. Another factor driving the sportswear fad is social media, for examples, Instagram promotes the #FITSPO, #fitnottin, amongst an array of imagery which embraces the fitness trend and encourages sportswear.

Tommy Hilfiger’s spring/summer 2014 collection embraced the sports look, playing with rugby stripes, boxing shorts, slouchy jumpsuits and statement dress accessorised with leg warmers. The sports trend is evident in all fashion markets, from luxury fashion to the value market.

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THE ORIGINS OF SPORTSWEAR

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The term sportswear derives from interchangeable and informal separates and during the 1920s became defined as casual wear for spectator sports. The perceptions of sportswear changed in the 1930s; it became associated with a relaxed manner of dressing for business and social occasions (Dictionary, n.d.). The great depression in 1929 impacted American fashion and encouraged homegrown style and design in sportswear (Arnold, 2008). American sportswear marketed itself on affordability, comfort and versatility that would compliment the lifestyle of the consumer (Martin, 2000). During the 1970s, Geoffrey Beene a well established and successful sportswear designer, introduced masculine elements into his women’s clothing. His technique of layering and masculine features inspired 21st century designers and the androgynous movement. Marco Jacobs helped the transition of sportswear as both day and evening wear with his 1986 eponymous label. Industry giants Calvin Klein, Ralph Lauren and Donna Karan, created the desire for stylish yet wearable, interchangeable, luxury multi purpose clothes (Stanfill, 2007). All of these element can be seen in 21st­century sportswear.

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LOW­RISE FLARED JEANS

After the 9/11 attacks and the mortgage crisis, fashion trends in the early 2000s resorted to a conservative and classic look. Society reached out for stability and comfort in their clothes after the devastating events. Women began to wear low rise flared denim jeans which incorporated detailed embroidery. Skirts were often worn over trousers often in shades of purple, black and pink; accessorised by thick bodied shoes with floral decoration. Shopping behaviours were centre around price, style and the desire to reuse previous agreements. A popular item in the 1970s were flared trousers that were brought and restyled.

These trends have derived from the 19th century up to the 1970s. The first emphasis of flared leg trousers evolved around the 19th century due to Navy sailors adopting a uniform which embodied style and function. The idea behind the width of the lower leg was so the sailors could remove their boots without getting wet in seawater. The flared trouser could be rolled up easily and could act as a makeshift flotation mechanism (Bucci, 2015).

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THE THONG The thong dates back to ancient Egyptian and Africa, along with Japanese, Greek and Roman cultures. It was predominantly designed and worn by men to protect their genitalia and is renown as a uniform for sumo wrestling. The thong established itself in New York during 1939. Fiorello La Guardia encouraged nude performers to wear this modern lingerie to cover their genital area and expose less skin, in honour of New Yorks World’s Fair. The Word’s Fair represented Americas culture and technology. Therefore, the thong had modest connotations because it derived from respecting one of the Americas most famous events (King,2016).

In the mid­2000s, it became a popular trend due to celebrity endorsement. Brittany Spears promoted the thong in her music videos which were seen on many occasions above her trousers. As a result, thongs were designed to have jewelled details on the back (Anon,2010).

The thong was embraced in hip hop culture by Pitbull, who incorporated the thong theme in his lyrics, “No thongs”. The thong is still being portrayed in the media through hip hop icons Rihanna and Nicki Minaj.

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TREND PREDICTION

21 Today there is a need for sustainability and a desire to prevent global warming. Future trends may include sustainable natural materials, which diminish the risk of pollution to the environment and engage the product lifecycle. Contemporary ideas such as creating a sustainable future through manufacturing materials, from operative organisms could revolutionise the way we wear clothes.

Significant events have always impacted past, present and future trends in fashion. Current affairs such as global warming and the need for a sustainable future may influence future movements in all areas of design. There will be a need for contemporary ideas in fashion that will explore technology in garments. Our attire may become more innovational, utilising high­tech electrical components in the construction of apparel. Consequently, this could allow us the freedom to change the patterns on our clothes using our smartphone.

Additionally, the rise of athleisure will begin to merge sport, urban and fashion cultures together. We may see sports leggings with traditional Chinese typography. Globalisation will be the driving force and will influence developments in smart, wearable technology that will encourage innovation in both sportswear and non sportswear.

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CONCLUSION 23

Fashion trends are a mirror image of social, political, economic and cultural changes. Fashion from 2000 to today has reinterpreted past trends, using new innovations and developments in technology to reestablish them.

Technology will determine the development of fashion design and the functionality of our clothing.

Wearable technology will enhance our quality of life, from our performance to how we communicate.

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website n.d. Geoffrey Beene | GUZMAN. [Accessed 5 May 2016]. Available from: http://www.lesguzman.com/?portfolio_item=geoffrey­beene.

References Books Arnold, Rebecca (2008). "New York and the Evolution of Sportswear 1929­39: Sportswear". The American look : fashion, sportswear and the image of women in 1930s and 1940s New York. London: I. B. Tauris. pp. 23–29.

Stanfill, Sonnet (2007). New York Fashion. V&A Publications, London. pp. 28–49.

Online Resources Administrator, N. 2015. July 20, 1969: One giant leap for mankind. [Accessed 30 April 2016]. Available from: http://www.nasa.gov/mission_pages/apollo/apollo11.html.

Becca 2013. FASHION­TRAIN: The history of the Jumpsuit. [Accessed 1 May 2016]. Available from: http://www.fashion­train.co.uk/2013/10/the­history­of­jumpsuit.html.

Bucci, J. 2015. Fashion archives: A look at the history of flared jeans. Fashion News [online]. [Accessed 30 April 2016]. Available from: http://startupfashion.com/fashion­archives­history­flared­jeans.

Butchart, A. 2013. Track the trend: Futurism in fashion. [Accessed 5 May 2016]. Available from: https://amberbutchart.com/2013/06/13/track­the­trend­futurism­in­fashion/.

King, E. 2016. Cracking open the history of the thong. [Accessed 1 May 2016]. Available from: https://broadly.vice.com/en_us/article/cracking­open­the­history­of­the­thong.

Martin, R. 2000. American ingenuity: Sportswear, 1930s–1970s | essay | Heilbrunn Timeline of art history | the metropolitan museum of art. [Accessed 4 May 2016]. Available from: http://www.metmuseum.org/toah/hd/amsp/hd_amsp.htm.

Image References

Figure 1­4. Carter, M. 2012. Zee Nunes [online]. The English Group. [Accessed 1 May 2016]. Available from: http://www.theenglishgroup.co.uk/blog/2012/12/18/zee­nunes/.

Figure 5. Leach, A. 2015. Androgynous fashion moments. Clothing [online]. [Accessed 5 May 2016]. Available from: http://www.highsnobiety.com/2015/05/14/androgynous­fashion­moments/.

Figure 6. Anon n.d. Gucci spring 2016 menswear fashion show. [Accessed 5 May 2016]. Available from: http://www.vogue.com/fashion­shows/spring­2016­menswear/gucci/slideshow/collection.

Figure 7­8. Chiesi, E. 2015. ANDROGYNY: LIKE HIM, LIKE HER. Girl’s Corner [online]. [Accessed 5 May 2016]. Available from: http://www.thethreef.com/en/2015/04/androgyny­like­like.html.

Figure 9. Anon 1965. (vintage) visions of the FUTURE! [Accessed 5 May 2016]. Available from: http://futureion.org/.

Figure 10. Anon 1965. (vintage) visions of the FUTURE! [Accessed 5 May 2016]. Available from: http://futureion.org/.

Figure 11. Farrell, A. 2015. Sonia Delaunay’s fashionable legacy, at the Tate modern (and on the runway). T:Style [online]. [Accessed 5 May 2016]. Available from: http://tmagazine.blogs.nytimes.com/2015/04/14/sonia­delaunay­tate­modern­show/?_r=0.

Figure 12. Anon n.d. Paco rabanne futuristic fashion. [Accessed 5 May 2016b]. Available from: https://www.google.co.uk/search? q=paco+rabanne+futuristic+fashion&safe=strict&client=safari&rls=en&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiN4KPencPMAhWFvRQKHQjWBa0Q_AUIBygB&biw=1127&bih=549#imgrc=0BsIT­ TyhHi53M%3A. Figure 13. Posted and Tahhan, N. 2011. Beads of Babylon: Paris Fashion week: Paco Rabanne ­ spring summer 2012. [Accessed 5 May 2016]. Available from: http://beadsofbabylon.blogspot.co.uk/2011/10/paris­fashion­week­paco­rabanne­spring.html.

Figure 14. Anon n.d. The sporting life. [Accessed 5 May 2016c]. Available from: http://www.vogue.co.uk/fashion/trends/2014­spring­summer/the­sporting­life/gallery/1044394.

Figure 15. website n.d. Geoffrey Beene | GUZMAN. [Accessed 5 May 2016]. Available from: http://www.lesguzman.com/?portfolio_item=geoffrey­beene.

Figure 16. Anon n.d. Suzy Menkes: Taking sportswear into the digital age. [Accessed 5 May 2016c]. Available from: http://www.vogue.co.uk/news/2014/09/07/suzy­menkes­sportswear­at­new­york­fashion­week.

Figure 17. Sitemap 2016. Ryley embroidered flare jeans, light blue. [Accessed 5 May 2016]. Available from: http://www.neimanmarcus.com/en­gb/Alice­Olivia­Ryley­Embroidered­Flare­Jeans­Light­ Blue/prod186180126/p.prod.

Figure 18. Anon n.d. Sexy AF! [Accessed 5 May 2016c]. Available from: https://uk.pinterest.com/pin/354236326922461504/.

Figure 19. Anon 2012. Lucy McRae — fashion, technology and the body — creative journal. [Accessed 5 May 2016]. Available from: https://uk.pinterest.com/pin/275845545904381700/.