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EDITOR’S LETTER
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ARE YOU ON THE TIRELESS SEARCH FOR CREATIVE INSPIRATION? Look no further. Through this zine you will explore the importance of deconstructionism within the fashion and creative industry, inspiring us to be daring and diverse in what we create. Exploring the presence of the deconstruction style and how students of today use it to their advantage to create groundbreaking and outstanding work. You will explore the evolution or our social cultures and how it effects both the industry and our everyday lives. See what is being created within our up-and-coming creative community and
be inspired. w
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MARGIELA GALERIA It has been said that silence speaks a thousand words, and Martin Margiela does exactly that.
seen inventions by the industry. Although, I’d like to point out Kanye, Margiela hit it first.
The designer who has inspired us all, whether you know it or not, from the iconic Tabi soled shoes to his “Oversize” collections, Margiela has been influencing us since the 80s and definitely isn’t showing any signs of stopping.
Now nearly a decade since his disappearance from the fashion industry, resigning after his last collection in 2009, with no trace of him ever since. Although this wasn’t such a shock for the designer to be so incognito, from early on his career refraining from all interviews and press talks, leaving all the talking to his clothes, and did they speak volumes.
Deconstructionism has been drawn further and further into the lime light during recent years through daring development in creativity. In particular, this style saw a rise in popular culture when the brand YEEZY launched their first season back in October of 2015, a moment that everyone was aware of whether you liked it or not. Receiving an overwhelming positive response, featuring the neutral toned oversized clothing and clear plastic strap heels, being deemed as being never-before-
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Almost as if accepting his solemn silence, as for sure that collection from 2009 was the last we would ever hear again, until March of this year in timing with Paris Fashion week, and exhibition had been announced. Although physically not there, his presence
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was certain. Held at the Palais Galliera in Paris, a Margiela exhibition was to be held of which the creative director was Margiela himself. Deciding on each detail put into the event, from the mannequin’s makeup, styling and placement, all done by the man himself, being the only involvement, he’s had within the fashion world for almost 10 years. The event exhibiting a range of the pieces that were created whilst Martin Margiela was at Maison Margiela and it really does prove, is there anything that Margiela didn’t do first? Following the footsteps of where he once was, perfecting this exhibition down to every last detail, as if tracing the trail of a ghost. A slim white carpet led viewers up the entrance staircase in memory of his first ‘runway’ show staged on a similar cloth serving as the pathway for the models, who left wet red paint footprints of the Tabi boot print. Following his second season by cutting this very white cloth
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runway, held together with gaffer tape, which also is displayed within the exhibition. Recycled fashion being just one of his many achievements. A career that started so many ripple effects of inspiration within the fashion industry, which are being seen now more than ever before. Leaving a wake of devastation in his resignation from fashion, with no interviews, no public announcements made with no trace of the man who created the plain white label, leaving so many questions unanswered for so many years. But this exhibition is an answer to all that and more. Giving an insider as to why he left, his process of working, truly a precious moment of looking inside the designers mind, all from the horse’s mouth himself. A walk through of the designs he created which are now so relevant in the fashion world we know today, giving the viewers a chance to
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compare what he did in the 80s and 90s to what is happening on the runway right now, and how in fact Margiela created it first. Almost a mockery of what the fashion industry is now, for them to only come up now with what Margiela was doing 30 years ago. Ahead of the game, simply only everyone else at the time didn’t always see it that way, shun upon by the press at the time. A time for Martin Margiela to stand up and take ownership of his achievements and let the world know, this is how it’s done. Specifying the details of his pieces, what they were and why it happened, unravelling the story of a truly breathtaking history. What can be considered the exhibition purpose is to inspire a generation, to be daring, question the fashion industry and push further with creativity. Martin Margiela and his work was revolutionary and is now more important than ever.
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Something Old, Something new, and something borrowed.
PHOTOGRAPHY: Victoria Lynch STYLING: Victoria Lynch MODEL: Almudena Severo TECHNICIAN SUPPORT: Colin Jackson
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A concept of taking staple items of clothing that have been adapted or styled abstractly to create something new and different. Consiting of three styled outfits following the classic saying and title. The first being created out of a selection of old denim jeans and jacket. The second being something new, trousers with detail that for practicality are not needed, paired with cutout accessories. The third borrowing pieces from other items, styling sleeves from a classic shirt.
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NATASHA GOODHEW Pushing limits and breaking rules. in this interview i ask questions to a former UCA Rocherster student, Tasha Goodhew, on the BA Fashion & Design course, discussing her style of working and how it allows her to be creative within her creativity, and what may lie in the future for fashion.
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Images by Natasha Goodhew, from her Instagram @tasha_ge
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WHY IS THAT WITHIN YOUR WORK AND DESIGNS THAT YOU CHOOSE AESTHETIC OVER FUNCTIONALITY? “When it comes to my designs I have always prioritised aesthetic over function and I feel this is mostly because I design with different intentions in mind than functionality. My designs are often trying to convey a concept and a particular aesthetic is key in portraying my chosen mood or message. Although aesthetic and functionality pair together when designing I feel as though aesthetic is more responsible for outlining the meaning of the design. Aesthetic can also be as simple as showing someones personal style and helping something appear well which I feel is more important to most designers than the functionality of their design. “
WHAT ARE YOUR VIEWS ON DECONSTRUCTION FASHION? DO YOU BELIEVE IT IS RELEVANT IN TODAYS FASHION? “I have always been interested in elements of deconstruction in design and I think it will continue to be relevant in fashion. whether a garment is made to purposely appear deconstructed or deconstruction is a process of altering an existing design I feel it is something that continues to be interesting in fashion and allows designers to be experimental. As well as this, with interest in current environmental issues becoming more popular in the industry, deconstruction fashion is something that pairs well with recyclable and reusable fashion which I feel will grow more popular in the near future. “
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DOES THE USE OF DECONSTRUCTION FASHION FOLLOW THROUGH INTO YOUR EVERYDAY CLOTHING AND PERSONAL TASTE OF STYLE? “deconstruction fashion follows through into my every day clothing and personal style in the sense that I like to cut and customise lot of my clothing. I crop a lot of my tops and jumpers which is a form of deconstruction in itself and if I had more time to customise my wardrobe I would be interested in cutting and sewing together different items of clothing to create designs that almost look collaged together.” DO YOU FEEL THAT BY CREATING DECONSTRUCTIONIST DESIGNS IN WORK ALLOWS YOU TO BE MORE INDIVIDUAL AND ADVENTUROUS WITH WHAT YOU CREATE? “I think deconstruction is an experimental process and without it a design would have to be very precise and considered. Deconstruction definitely allows you to be adventurous as a designer. “ DO YOU THINK THAT DECONSTRUCTION AND IN THE WAY THAT TAKES CLOTHING DESIGNS THAT ALREADY EXIST AND ADAPT THEM TO MAKE SOMETHING ABSTRACT AND COMPLETELY DIFFERENT IS THE WAY FORWARD IN FASHION? “I definitely feel as though using deconstruction to reinvent existing designs will play a large role in the future of fashion due to environmental issues as previously mentioned. With interest in recyclable and reusable fashion becoming more popular, deconstruction is a process of re-imagining new designs that considers the environment. It also allows designers to be creative and original which is always encouraged in the industry.”
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DELICATE DEconstruction Teaming up with 2nd year jewellery student from UCA Rochester, Sophie Luxton, working from a brief of accessories made from already existing objects, creating decoration and jewellery out of already perfectly functioning items, blending boundaries between function and aesthetic. working together and combining styles, to create a stylistic chic minimalism . Consisting of two rings inspired and constructed from child toys, creating beautifully intricate pieces layered with incredible detail.
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“I have always tended to create small and detailed work, which is probably why I fell in love with making jewellery! Working in metal holds so much potential to create fun and playful pieces. My work is mostly informed by nature and miniature forms. Recently I have created pieces inspired by botanical illustrations and insects. These two rings are inspired by deconstruction and reassembly; of taking something apart and creating something completely new. This is completely different to the natural subjects I usually explore, which made it an exciting challenge for me. My first thought was of childhood toys. There is so much opportunity to find small and interesting bits and pieces and due to their small scale, they are perfect for creating jewellery. I collected all of the pieces together and began to sketch ideas and through these developed the designs for the final two rings.�
- SOPHIE LUXTON
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N E W FASHION? Is anyone individual anymore? During the 21st century we have been opened up to a new era of diversity and self-expression that allows people to present their personalities visually to those around them. Compared to a century ago when what you wore represented where you sat within the class of society, setting boundaries between the rich and the poor, fashion still plays a huge part in representation but instead has become a very personal subject matter. Although that doesn’t necessarily mean what we wear creates this ultimate individuality where each item we wear is a one in a million, because I can guarantee those flared trousers from Urban Outfitters are also in about 10,000 other wardrobes. However, there is a lot more choice and freedom within our society today, which in fact has developed into something considered to be extremely complex, in particular through our development in culture.
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CULTURE AND SUBCULTURE Throughout life, inevitably, each and every one of us have been involved within cultures, taking interests in television programmes and the music we listen to, we have all been caught up in an obsession in at least one point in our lives. The evolution of popular culture and social pleasures has led us to create groups within our society of which in we form together through these common interests. In particular, this movement thrived post-war with the birth of the ‘Baby Boomers’; the devastation had finally come to an end and was overtaken by a time of pleasure and social activities. A new era in which creativity is at full speed, a time to be daring and push boundaries within society. The 60s introduced a new-found spirit within youth culture, fashion was no longer being aimed for the house-owners and workers of the world, steering away from the conservative waist hugging silhouettes and the slick suit, veering towards the far more creative and innovative sides of the world. Artists began to be more experimental, new genres of music were being produced with the introduction of rock and soul, creating a spectacular ripple effect of artistry power, influencing the fashion industry in particular. Social evolution was at full effect, emerging two of history’s
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most iconic cultures, the ‘Rocker’s’ and the ‘Hippie’s’, both of which can be considered possible two of the most revolutionary influences within fashion through the new era of rebellion. In 1953 a film called The Wild One was released, causing a considerable amount of upset across society as it was deemed to be a bad influence on young people by ‘the man’ and was further banned in Britain. Nevertheless, it led on to inspire a generation of Rockers across the world, a required uniform of black from head to toe adorned in leather and denim, the group associated with the birth of the ’teenager’. During the 60’s youth culture began to question what was drilled in from birth as what seemed to be normal, but yet they began to question, should we be killing animals for own pleasure? Are we damaging the environment? Following the birth of the Hippie’s, with a whole new way of fashion to follow. Organic vibes, steering far from the luxurious and sensual way we were so conformed to, inspired by nature and Art Nouveau introduced the iconic trends of Psychedelia and Boho. For the first time in history the youth of the world had a voice and right to express identity, creating fashion that was beyond the norm and would inspire generations to come to be daring and individual. Through the development of
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the 21st Century have found
ourselves looking back on our history for our creative inspiration, designers taking pieces created in previous decades, taking inspiration, to create a hybrid between the vintage and sell it as something new. With the up-and-coming youth generation of today has brought a range of diversity, seeking inspiration from the youth of what was once our parents. Continuing the cultures of what was once theirs, we have developed what is now known as ‘subcultures’, for example, the evolution of ‘Punk’ inspired by punk rock in the 80’s moved on to create the subculture ‘Goth’, inspired by heavy metal music with heaver emotional links to anger and upset to society. However, it doesn’t just stop there, like a plant, sub-cultures stem off into a number of different paths with no definite end. In the 21st century, inspired by the original goth of the 80’s which is still very loud and emotional but not in the same way, expressing a softer colourful look that displayed a ‘cute’ vibe which all corresponded with the rise of the social media platform Tumblr which played a vital part of communicating this culture and interests, allowing it to go viral worldwide. But yet still a strong contrast between the two, the sub-culture took the idea of the original and
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developed it into something that was its own whilst still taking elements of interests and core representation from the first and developing on from that.
However, can this be argued that these subcultures are individual or simply copying the original?
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SUPERMARKET OF STYLE Ted Polhemus, an American author and anthropologist, studies cultures and the development of sub-cultures and has conducted his own theories and findings, his most successful published book so far being ‘Street Style’ in which he discusses his theory of the ‘Supermarket style’. Through the book he discusses the history of the original cultures of the 20th Century, right through to the cultures of modern day, with a very strong opinion of that perhaps we are stunted by our own past and stuck in a constant loop of repeating ourselves, “streetstyle today is characterised by the extent to which it exists within the shadow of its own past” (pg 209). To support the release of his publishing, an exhibition was held at the Victoria & Albert Museum honouring all previous and existing cultures, attended by the likes of Rockers, Mods and Punks mixed with the Lords and Ladies. So successful, it received overwhelming amounts of publicity, so much so, a queue so long to get in it wrapped around the entire outside of the building. Through his book he explores a timeline of cultures and subcultures, showing the links that they share, the influence they have had on the world around us and the
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hot spots that have been created for these groups. Towards the end of the book he begins to discuss his own theory of the ‘Supermarket of Style’, a theory of how as the new generation, the idea of being a part of a culture has become something far more complex than being a part of just one, instead we have the opportunity to pick and mix as we please, as if in a store, picking up and dropping as we please. From Ted’s findings, he sees it as being near on impossible to avoid the constant reminder of the past that our elders’ once lived, and that we have no choice other than to be influenced in one or another by the cultures before us; “Reared on a constant diet of television programmes, music videos, and websites which celebrate previous decades and Jurassic styletribes”. Which is undeniable true, with the constant replays on TV of old shows which are deemed ‘classics’ by the producers which we have unquestionable expected, entire music channels devoted to playing the songs of the past on repeat 24/7. “In this extraordinary Styleworld where ‘nostalgia mode’ is set at full tilt, separate eras are flung together in one stretched, ‘synchronic’ moment in time, all reality is hype and ‘authenticity’ seems out of the question”
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In his summary he expresses from a point of view of his own generation as one of the ‘baby boomers’, “While my own generation looked back if at all, in anger and with disdain, the present generation seems sometimes to be so engulfed by the past that it is hard to discern its present, let alone its future”, which is slightly biased and perhaps a bit closed minded, claiming his generation invented what it meant to be ‘authentic’ through their rebellious ways, seeming to be consumed by the achievement of his own generation, “rarely if ever a scratch on the original”. To support his opinions, Ted sees it as incredibly strange how as a generation we can be besotted with what was once our parents’ past, comparing how during his youth “the past used to be a country one didn’t want to visit”, and now we seem revel in this theme park of culture. Deeming us to be incapable to create anything authentic ourselves without copying ideas of what already exists, and as a generation we have cut short any possibility of future creativity, “it’s hard to see the Supermarket of Style as anything but the end of the road for that incessant searching after authenticity which always used to be the driving force of streetstyle”.
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Although, is this fair to say? Don’t get me wrong, he is right in the fact that his generation definitely opened up an entire new world for younger generations to have a voice, however that doesn’t mean because we are inspired by the past does not mean as a generation we are merely copying what already is. Now I’m not saying we aren’t guilty as a generation for heavily taking inspiration from the past like Ted Polhemus claims all we’re capable of doing, but can anyone in the case of fashion say that they haven’t looked in the past for inspiration? As influential the Mods and Rockers were with their power of rebellion and self-directed style, were they not in fact inspired by the Teddy Boys 50s the rebellious British post-war youth movement, and then even further were the Teddy Boys not inspired by the Edwardian Dandy’s through their chic with their clean-cut look and pride in self-appearance? What I’m trying get across is the fact that fashion is consistently inspired by its own past and that fashion is simply taking what we already know and developing from that to make something new. Through an updated version of his book, released in 2010, he adds an extra verdict upon his case, how during 2008 when
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reading a newspaper, he stumbled upon an article, “Beatings and abuse give Mexico’s Emo teens plenty to feel anguish about”, an article of rebellion and emotion Ted commenting in the subject, “Smells like genuine subcultural teen spirit to me” (pg 218), comparing it to the likes of passion that was seen in the Mods and Rocker of the British 1960s. Leading Ted to even further comment on the assumptions he had previously made in his book about the death authenticity and genuine culture, “I take it all back” (pg 219), admitting that culture is still alive you just have
to search for it. I’m not going to sit here and sing Ted Polhemus’ praises but neither am I going to totally disagree with him. In this day and age, it is hard to find genuine authenticity and creativity but that doesn’t mean that it is dead, in fact, it is everywhere around us. We are in a time where the youth culture has a say more than ever before, through platforms of social media and rights marches that are happening every day. We are not simply playing dress up with what used to be in the wardrobes of our parents during their younger years, we abuse the ‘Supermarket of Style’ and we pick and choose as we please to make our own style of the Century. Our style of authenticity is like none other than those from the past, we push boundaries and create the abstract and the new from the inspiration from the past, deconstructing and reconstructing as we please. The youth generation have influence like never before. Perhaps our authenticity doesn’t stretch as far as each person having a one-ina-million fashion item and that so many others have the same but it’s not as such about what you own, but it’s about how you wear and why you wear it that creates the individual.
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“FASHION IS NOT SOMETH DRESSES ONLY. FASHION STREET, FASHION HAS TO WAY WE LIVE, WHAT
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METHING THAT EXISTS IN HION IS IN THE SKY, IN THE AS TO DO WITH IDEAS, THE WHAT IS HAPPENING.” - COCO CHANEL
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