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Editors Letter K-A.Designs There’s a dimmed atmosphere and a hued ambience. A velvet curtain calls. Is this a theatre or a catwalk show? An outfit has a designer, a model and an owner, and holds its own identity whether that’s a costume for the stage or the latest look on the runway. To showcase the relationship between fashion and costume design, this issue of Ember will explore 100 years of mutual admiration.

When you see a theatre production – the stage set, the actors and actresses, the musical score, the choreography – it is an art form in itself. And this art form influences fashion.

Dubai-based designer Michael Cinco designs gowns that usually create a large bubble of personal space around the wearer, due to the shaping of the skirt and size of the gown.

Modern day construction of such garments mimics the dynamics of performance clothing: just think of the ballroom scene in Cinderella with all those space-carving crinolines.

Yet not all designers choose to follow the Marie Antoinette inspired wardrobe. Designers like Zac Posen tap into the structural influence of theatre costume but treats it more like architecture: dresses become soufflés of silk in his hands. Posen even created a Cinderella like ball gown worn by Claire Danes which had the ability to glow in the dark; fine tuning our senses once more - just like the theatres themselves which

are built to showcase sounds, movement, projection and clarity.

Theatre costume has one objective: to tell the story of the person underneath it. It wears them. So has this same dynamic filtered into how we engage with fashion? In other words, are the clothes we buy now wearing us?

The changes which we have witnessed from the early 1900’s to the present day is the decision the model must make... who identifies as who?

Should the garment walk the runway, high streets and red carpets or should the person within it. I believe that once the clothing was all we needed, our makeup make shift masks, we were on show and simply props in our own theatres. When a designer creates a new collection the model is sent onto the runway to display the clothing. Everyday life is beginning to echo the ethos of catwalks and the transition into putting the people on display has come to shine with the millennials. A survey taken by LIM College professors Robert Conrad, MBA, and Kenneth M. Kambara, Ph.D. found of 665 Millennials, aged 18 to 35, “less than 7 percent of those surveyed reported that they are influenced by the opinions of bloggers and vloggers in deciding what apparel and accessories to buy, and more than 62 percent consider the uniqueness, or ‘newness’ of the products offered as the most compelling reason to make a

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fashion purchase.� The ever evolving world that is fashion is morphing into its next defining decade and the discovery of whats yet to come is still to be uncovered.

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Balenciaga Exhibition Review from the Victoria and Albert Museum Walking into any room or space should immediately provide an ambience. Within that space people find their own way and gravitate toward that which stands out to them. An exhibition is just that, a magnetism between you and the display pieces.

Having a connection with something that is physically inanimate but visually, internally and conceptually colourful is an embrace of the consumer and designer relationship.

During my time spent at the Balenciaga exhibition in the V&A museum I found I could identify with certain pieces. Whilst the majority of the group followed the natural path of people walking through and past the glass cases, I took pleasure in acting as a social butterfly and floating to and from the display cabinets. I particularly liked the pieces that had been created for celebrities or women of status.An example of this was the american client Anne Bullitt who at the time lived with her second husband in Madrid. Knowing that these clothes aren’t simply here for display or to display the craftsman ship, these particular garments were made for someone in particular. The finest details, body form and shaping as well as colour palettes and textures were created with a person in mind. This is so different to many designs because rather

than the consumer ultimately being unknown to the designer and the designer having the freedom to create a persoanlly inspired design means that the constraint of size, style and purpose have less impact on the artistic vision of a designer. To have to work within these goal posts and creative an impactful garment which maintains the designers style and captures the clients image, I believe shows the true talent of a designer such as Balenciaga.

Each display cabinet held within it a small chunk of history, a capsule of past decades is sewn into the garments and oozes sophistication and fashion evolution. It was extremely obvious that Balenciaga has a distinctive sense of future thinking.

How can I further this design, what makes this garment any better than the last one I designed? - Such questions sit upon the hem line of the clothing as though it is a part of the garment itself, reflective questions and intrigues are essential to the production of industry defining designers and collections.

I enjoy reading into the clothing and their identities, just because a fabric is lightweight and brightly coloured, its history may not match its appearancea concept which often echoes itself in everyday life. Balenciaga had one piece which stood out to me for its craftsman

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ship and instantaneous story as it is hand painted silk which is described as recalling Chinese wallpaper was simply exsquisit. A 1950’s creation which wasn’t a part of the Balenciaga records and thus wasn’t a collection piece, instead takes its place as a one off piece for an American

client. Such personal garments on display which remain without record but aquire exhibition recognistion are the wonderful examples of designers who need no more than to create and not record it in order to fulfil the natural creative direction. A stunning exhibition.

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A Glimpse into 100 Years All that has been is still yet to come Clothing and people have evolved together into a mould which cannot be replicated. We put the identity in the costumes and write the show as we perform it.

This ability is the very thing which fashion does not share with any other industry.

With flares in the everyday outfits of the theatrical influence, occasion wear is often the most obvious reflection of such drama. Wedding gowns and evening gowns most popularly display musical theatre and opera. The notion of costume jewellery and it’s popularity took off in the 1940s/50s as a way of maximising the glamour of the era but making it an affordable and statement worthy piece to embrace the world of escapism.

Coco Chanel pioneered such fashion changes, faux jewellery was demanded and Chanel responded with gold and faux pearls. How is it that these times are so many worlds ago and they’re still sought after in modern society as though they were stardust inches from our fingertips? With the inbuilt rhythms of earth in every person on the planet we connect through song and build musical theatre and opera houses which in turn influence the embroidery and the embellishment on garments.

Mimicking architecture and it’s finery just as much as its stage performers.

It’s a masterful talent that breathes deep into

our consumer habits to this day. I’ve been captured by the whirlwind romance which music offers, through its costumes and idiosyncrasies in high street fashion. The flute fashioned sleeves and laced cuffs, are a love affair in the 2010s and they’ve been costume attire and before that daily attire

by Queens and Nobles alike.

I can only describe the relationship between music and fashion over the last 100 years in a simplistic form by saying it’s like watching arms, hands and finger tips moving gently mid air, surrealism which encapsulates your attention. Hands are integral as they physically craft each of our images, with thread or pencils, fabric or sketches, so decorating them with long gloves in various silhouettes is the same as fine tuning an instrument. The Opera gloves were a must have for evening wear in the early 20th century and made their way to the hands of Hollywood, carving their way in film and motion pictures. Hands are the physical manifestation of surrealism, a world we embrace with all forms of fashion.

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1900

Musical - The Merry Widow

Fabrics - Silk and Lace.

Designer Jacques Doucet.

Trends and influences - The ‘S’ bend corset, lace collars with matching hats decorated with ribbons and feathers.

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Trends and Influences - Higher waistlines with a mixture of frilled blouses and overalls due to the first world war. Simple, sporty and modern garments. Along with Chanel’s little black dress and tailored suit which are in present day iconic.

Designers Gabrielle Chanel/ Paul Poiret

Fabric - Satin

1910

Musical - Follies K-A.Designs

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1920

Musical - Showboat

Fabrics Cotton and Fringing

Designer - Edward Molyneux Trends and influences - The hem lines came higher and waistlines lower to alter the feminine form.

Adaptations of war time ready to wear pieces captured high society.

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Trends and Influences - Parisian couturiers and long body complimenting evening gowns for occasion wear. Where as wool suits with shoulder pads were day wear.

Designers Elsa Schiaperelli

Fabric Chiffon

1930

Musical - The Wizard Of Oz K-A.Designs

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1940

Musical - Lady In The Dark

Fabric Gingham

Designers - Christian Dior, Cristobal Balenciaga and Nina Ricci Trends and influences - Fabric shortages during the war meant less pleating and decorative techniques.

Garments were given the ‘CC41’ stamp.

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Trends and Influences - Tweeds and woollens, defined waistlines and sloping shoulders. Cardigans to waist hight were popular- refining and defining the women shape.

Designers Christian Dior, Pierre Balmian

Fabric Wool

1950

Musical - My Fair Lady K-A.Designs

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1960

Musical - Fiddler On The Roof

Fabrics Polyester and Crimpolene

Designer - Mary Quant, Valentino Trends and influences - The 1960’S witnessed the highest incomes post WW2. Young people became the aim for designers and thus mini skirts and make up became must haves, along with patterns and bold colours.

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Trends and Influences - The wrap dress was an iconic piece of clothing during the 70’s. Flared trousers must cover platform shoes when crouching and four button waisbands hugged the waist.

Designers Diane Von Furstenberg and Vivienne Westwood

Fabric Jersey and Polyester

1970

Musical - Grease/ Sweeny Todd K-A.Designs

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1980

Musical - Phantom of the Opera

Fabric Velour

Designer Azzedine, Versace and Patrick Kelly Trends and influences - Fitness craze where leg warmers and body suits in bright and bold colours were the craze. Clothing which hung close to the figure was a must. As well as the now iconic shoulder pads.

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Trends and Influences - Patterned flannel skirts and hip hop influences in the form of overalls and bandanas were a 90’s favourite. As well as high waisted jeans and puffy blouses.

Designers Marc Jacobs fired for Perry Ellis, Donna Karen and Marc Jacobs

Fabric Flannel and Denim

1990

Musical - Lion King K-A.Designs

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2000

Musical Hairspray

Fabrics Lycra and stretch demim

Designer Burberry and Louis Vuitton by Marc Jacobs Trends and influences - Urban wear and Hiphop clothing was still vey prominat alongside preppy miniskirts and designer brand names.

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2010

Trends and Influences Monocromatic looks replaced the bright colours which had led to this decade. Ready to wear collections have become standard and the everyday clothing is nothing less than designer.

Smart fabrics and sustainability take centre stage in this decade.

Designers Iris van Herpen

Fabric -

Musicals - Wicked and The Wizard Of OZ

2010 K-A.Designs

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Musical Theatre and Fashion The re-occurance of past, present and future In life and on stage clothing has become a main character. Yet from the 100 years of fashion already uncovered and experienced, we see that musical theatre’s influence on fashion and vice versa is quite a unique partnership. We see the way people regress backwards, delving into past era’s and decades.

By adapting themselves to this musical world as their form of escapism they in turn adopt the fashion choices. For example, during the 2000’s, ‘Hairspray’ was a musical which captured the subconcious and in turn we saw hints of the sixties in the form of present day fashion. Fluted sleeves with wide flared cuffs were the clothing of choice.

During the 1970’s the motion picture musical Grease was realeased and people fell in love with the late 1950’s high school love story and an age of love and peace, appreciation and defined waistlines emerged. Many bodysuits replicating that which character ‘Sandy’ wore in the performance of ‘You’re the one that I want’ were evidenced during the 80’s, along with bold hairstyles and daring make up.

they also thrust us into entirely separate worlds, in order for us to escape the reality we live in. The 1939 Musical ‘The Wizard Of Oz’ is to this day a worldwide favourite. Unsurprisingly therefore its influenece on our clothing was inevitable. 1939 was the year that WW2 was declared and so the alternative universe with Ruby slippers and Tin men gave hope that a yellow brick road existed. Judy Garlands pinnafore in checked pale blue and fluffed out skirt made its way into 1940’s fashion, as well as the design of the ruby slipper.

The ruby slippers are more than just shoes and perhaps has been the cause for generations since, to believe in the importance of shoes and that they transform you. Clicking your heels and you’re home. Back to reality.

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Radical Designer Radical Designers, what is it that makes them different and encapsulating? I find that with Rosie Assoulin, that it is the unknown which makes her so radical. A fresh face with A/W17, SS18 and Resort 18 the latest additions to her portfolio, I am intrigued by what is still yet to come. Rosie’s initial mentor who went on to become her mother in law is Jewellery designer Roxanne Assoulin, it is under her wing that Rosie continued developing her skills.

Speaking to Glamour Magazine in 2014, on the topic of the influx of female designers Rosie said :- “I never thought of women being under-represenented, maybe because my mother- in- law was always an example for me.

She had three kids. She did it all. And I saw how she did it.” Here I find that the embrace of femininity and the complete disregard that so called ‘Glass Ceilings’ for women even exist is an empowerment of the fashion world. I have often felt as though many people have a belief they are entitled to a job role or social status and clothing breaches this barrier, finding a designer who breaches this barrier and goes forth into an industry and grasps her role with both hands, is exactly the pair of hands you want designing your clothing. A barrier created by society, condemned by society and clothing has no regard

for your doubt or for your arrogance, it shows your true colours, no clothing, I believe, is a disguise.

Rosie grew up in Brooklyn, a part of what some would call one of THE fashion capitals, New York, Rosie knew that she had a passion for fashion. The famous phrase from the childhood Bratz doll echoed in my mind whilst looking over some of Rosie’s designs, they’re stylish and flirtatious and maintain a flamboyancy that a dolls clothing should. Thus the undercurrent running throughout her designs, from a consumers point of view is that a her designs represent you as an individual. Such a skill is well sought after in the modern world of fashion and with the ever evolving concepts and maturing designers/fashion houses new faces are exactly what the industry needs. New York is the breeding ground for innovation, inspiration and diversity and I would like to hear a designer come from a small town in a less familiar state. Yet the biggest labels often place ‘New York’ beneath its name, though it may be seen as common I doubt we would actively purchase a designer piece that places anything less than one of the many fashion capitals on their labels.

I was drawn in by Rosie’s work without knowing her name but

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by simply seeing her clothing on a hanger.

Tucked between each other Rosie’s garments were a mixture of ruffles and red, navy and pale yellow dresses. The primary colour combination was a simplistic palette for one rail of clothing but with the use of coloured thread and the ruffles finished in corresponding colours the arrangement suddenly achieved a new dimension. Not simply a flat front facing fabric, but a textured and flowing, technically embellished piece of clothing. Such skills were exercised briefly at the Fashion Institute of Technology before going onto Oscar de la Renta in New York City.

Whilst Rosie was here she spent her time observing Mr. de la Renta draping, perfecting and cutting his signature pieces. Development of her present day design flare is an attribute which has been nurtured and encouraged

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through multiple forms of learning. Practically, conceptually and via observation through mentors, schooling etc.

Whilst in an interview with Glamour magazine Rosie had explained that she had spent a long time killing her fashion dream and believing in achieving in separate fields before realising that she should ‘give it a go’.

Commenting further on her design aesthetic Rosie exclaimed - “We have everything from very voluminous, generous, cozy clothes to cutout pieces that are more revealing. I feel like I’m a version of all those women at any different time. I have to want to wear each piece, and not just see the model or celebrity in it, but myself in it.” I have begun to re evaluate my ideologies within fashion and would recommend many more people to find their ‘Radical Designer’ because Assoulin doesn’t require the approval of any individual but herself. Her shape, her concepts and her visions must be approved by her wardrobe, the pieces which work are the ones that the world can receive on the cat walk.

I think we NEED so

many more designers to work this way. In 2015 Assoulin won the CFDA Swarovski Award for Womenswear and is thus known to manipulate drama into ready to wear street style clothing, in order to add a little bit of signature to each of her garments. Though it wasn’t until 2012 that Rosie returned to her passion for fashion and in 2014 her Resort collection debuted.

Today Rosie is in my eyes a ‘Radical Designer’.

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