TECH
TALES
A Saga of Fashion and Technology through the ages.
Source: https://blog.metmuseum.org/alexandermcqueen/images/6.McQueenNo.13,Spring1999.EL.jpg
YNAP x LCF 2020
Source: https://vaguelycool.wordpress.com/2015/06/12/hussein-chalayan-aw-1998/
F O R E W O R D
This magazine was created as a part of the YNAP x LCF 2020
Collaboration.
Curated
by
Master's
students
at
London College of Fashion, the magazine takes a look at fashion’s evolving relationship with technology, and the many forms this relationship takes.
We closely investigate the work of Alexander McQueen, Manish Arora, and Hussien Chalayan, paying particular attention
to
one
show
from
each
designer.
Each
investigation is supplemented with embedded clips and AR filters inspired by YNAP's archival footage to reflect the evolution of technology in fashion. The work of these three
designers
demonstrates
the
multitude
of
ways
technology can be used in fashion. Going forward, this relationship
with
technology
is
only
going
to
grow
as
digitalization continues to play an increasingly important part in our lives.
Amelia Spinks Writer & Editor
C O N T E N T S
01 Alexander McQueen Spring/ Summer 1999, No.13
07 Manish Arora Spring/ Summer 2007, Women's RTW London
12 Hussein Chalayan Autumn/ Winter 1998, Panoramic
18 End Notes
19 References
20 Meet the Team
Source: http://on21blog.blogspot.com/2014/02/alexander-mcqueen-giac-mo-ngao-nghe.html
ALEXANDER
MCQUEEN
Spring/ Summer 1999
No.13
1
Source: http://firstview.com/collection_images.php?id=660#.X-tXkdj7Q2w
REMEMBERING THE RUNWAY Since
his graduate collection show in 1992, McQueen was
known for enthralling, immersive shows that encouraged enthusiastic discussions. From controversial themes, such as ‘Highland Rape’ (Autumn/Winter 1995), to shows that are
intertwined
with
remarkable
performances
such
as
Michelle Olley in the Spring/Summer 2001 show, McQueen has always pushed the boundary of what to expect from a fashion show.
His Spring/Summer 1999 show, ‘No.13’, is no exception as perhaps one of the most iconic, memorable fashion shows. McQueen’s
use
of
technology
throughout
many
of
his
runway shows shocked and awed audiences, and this show was a particular highlight. Sarah Mower reflected upon the show in 2018, “it’s a McQueen performance, a coup de théâtre that has made ever-living history, surely up there among the top 10 fashion show thrills of all time” (Mower, 2018).
2
Suddenly, the robots, which have been borrowed from a car manufacturing plant, begin to move, spinning and twisting as Harlow stands in between them attempting to shield herself.
Inspired by the Arts and Crafts Movement of the late 19th century, ‘No. 13’ featured ruffled layers of lace, ruched silks and
impeccable
tailoring,
for
which
McQueen
has
become
known for. McQueen stated: “for me, my basis for anything I do is based on a craftsmanship be it tailoring, be it woodwork or
be
it
anything
else”
(V&A,
2015),
highlighting
the
craftsmanship included in his collections. This is particularly pertinent in this show, with Aimee Mullins featuring on the runway in carved wooden legs. Mullins, a para-athlete, opened the McQueen show wearing a moulded breastplate and two carved wooden legs instead of her usual prosthetic legs. A rare sign of diversity in an industry that had shown little to no representation of disability up until this point.
However,
it
was
the
finale
of
the
show
that
became
a
phenomenon. The lights came up on Shalom Harlow, alone, spinning on a rotating disk, between what appeared to be two robot arms that had been ominously waiting in the centre of the runway for the entirety of the show.
3
Source: http://www.harpersbazaar.com/fashion/designers/a9939/alexander-mcqueens-best-runway-shows/
Suddenly,
the
manufacturing
robots, plant,
which begin
have
to
been
move,
borrowed
spinning
and
from
a
twisting
car as
Harlow stands in between them attempting to shield herself. They each began to wildly spray her virginal-white dress with yellow and black paint until her dress was doused and paint splatters covered her decolletage and arms and dripped down her legs. Harlow stumbled off the turntable and towards the audience, “in surrender” as Harlow herself described it (2011).
This moment of the McQueen show was feverishly debated upon, sometimes
in
controversy
over
the
meaning
behind
a
woman
helplessly being sprayed with paint. However, McQueen stated that he took inspiration from artwork by Rebecca Horn, in which two guns shot red paint at each other (McQueen, 2007). Except, he took this concept to the next level by placing a model in between the robots.
The
use
of
technology
in
this
show
created
a
spectacle
for
audiences, being discussed for decades after the actual event. The striking use of technology may have also been a comment on the impending millennium - an idea that several designers in the late 1990s
were
inspired
by
in
a
variety
of
ways.
McQueen’s
relationship with technology continued throughout his career; the final show before his death, ‘Plato’s Atlantis’, Spring/Summer 2010, was one of the first fashion shows to be live-streamed on SHOW studio.
4
WATCH THIS
TAP TO PLAY
No. 13 is remembered for its poignant finale; A former
ballerina,
Shalom
Halow,
spinning
on
a
rotating disc between two metal robots from a car manufacturing plant. These robots spray the model’s pure white cotton trapeze dress into a black and yellow futuristic design as she turns - signifying the effect of technological developments on society.
5
TRY IT ON!
TAP TO OPEN IN INSTAGRAM 6
Source: http://firstview.com/collection_images.php?id=12758#.X-taQ9j7Q2x
MANISH ARORA
Spring/ Summer 2007
Women's RTW
London
7
Source: http://firstview.com/collection_images.php?id=12758#.X-taQ9j7Q2x
REMEMBERING THE RUNWAY A fter
attending
Delhi
Fashion
School,
Manish
Arora
launched his namesake label in 1997, quickly catching the attention of journalists and buyers. Arora’s label debuted at London Fashion Week in 2005 and then was chosen to show at Paris Fashion Week for his Autumn/Winter 2007 collection,
demonstrating
the
thriving
interest
in
his
collections. Arora quickly became known for the use of bright colours and designs, fusing Indian techniques with Western
silhouettes.
The
staging
of
his
shows
included
bright coloured lights and lively music to accompany the models down the runway, allowing the audience to enter into the wild world of Manish Arora.
Arora’s
Spring/Summer
2007
collection
is
no
different,
featuring vibrant colours, striking motifs and a plethora of textures, appliqued and embellished upon the pieces. Arora utilised silks, tulles, sequins and sheer fabrics to create circle-skirted dresses, floaty tops and halterneck dresses. Each piece featured a motif of some description - including
8
parrots, cherry blossom, peacocks, hot air balloons and bees - or an eye-catching, sometimes psychedelic pattern, employing the latest technology in textile printing to achieve his designs. One instantly recognisable print is The Great Wave off Kanagawa, by Katsushika
Hokusai
(c.
1829-1833),
this
now-famous
painting
decorates the hem of an oscillating skirt. Arora’s clashing patterns and bold prints create electrifying ensembles that can’t help but bring joy to audiences.
Source:http://firstview.com/collection_image_closeup.php?of=50&collection=12758&image=1694871#.X-tbRtj7Q2w
When I started showing internationally, I realised that I had to take my country with me.
MANISH ARORA (V&A, 2008)
“When I started showing internationally, I realised that I had to take my country with me” (V&A, 2008). Manish Arora’s work regularly includes references to his Indian heritage, often in the craftsmanship of the intricate beading and embroidery, stating “I will
come
to
India
and
make
them
in
the
most
exquisite
embroideries...nobody else in the world can do embroideries like we would do in India” (V&A, 2008). Some of the motifs used in print also reference Indian and Hindu culture, one example is the Nandi Ox, that features along the hem of a blouse, a reference to the gatekeeper of Shiva’s abode in Hindu mythology. Arora, in an interview with the V&A, notes that he aims to use “the talent of India but in a vision that was understood by everybody” (2008).
9
Manish Arora’s spectacular collections demonstrated precisely what could be achieved with textile printing technology, often working with fabrics that are notoriously difficult to print on, inspiring subsequent designers to work with similar techniques.
Contemporary silhouettes are often seen in Arora’s collections, to ensure the “vision” can be “understood by everybody”. Bubble skirts, halterneck dresses and bolero style jackets feature in the Spring/Summer 2007 collection, all designs that were particularly popular at the time. Interestingly, there are also some references to western fashion history in the form of breeches and an 18thcentury style frock coat. Demonstrating how Arora mixes the old with
the
new,
alongside
references
and
images
from
different
cultures.Arora makes use of contemporary technology to create bold images and patterns that feature on many pieces in this collection. process
The
and
latest
with
technology
textile
can
printing,
aid
meaning
in
both
Arora
the can
design achieve
bright, sharp designs on his pieces. Inventions in textile inkjet printers
and
digital
fabric
printing
enabled
designers,
such
as
Arora, to easily print onto a wide variety of fabrics to achieve the envisaged design.
Manish
Arora’s
spectacular
collections
demonstrated
precisely
what could be achieved with textile printing technology, often working with fabrics that are notoriously difficult to print on, inspiring subsequent designers to work with similar techniques.
10
WATCH THIS
TAP TO PLAY
For Spring/Summer 2007, Manish Arora stays true to his signature: ‘vivid palette of riotious colours and kitsch motifs’ (V&A, 2015). The butterfly motif is incorporated in almost every way imaginable creating an exhilarating and theatrical show.
5
TRY IT ON!
TAP TO OPEN IN INSTAGRAM 11
Source: http://firstview.com/collection_image_closeup.php?of=2&collection=6591&image=970141#.X-tm3dj7Q2w
HUSSEIN
CHALAYAN
Autumn/ Winter 1998
PANORAMIC
12
Source: http://firstview.com/collection_images.php?id=6591#.X-tm-tj7Q2x
REMEMBERING THE RUNWAY Described
as a ‘conceptual’ designer, Hussein Chalayan is
often inspired by science and technology, interpreting this theme in original, innovative ways. After his 1993 graduate collection, in which he buried his collection and exhumed it a few days prior to the show, Chalayan has been known for his boundary-pushing collections that continue to enthral audiences.
“I’ve always been interested in technology, and there are elements of technology in all of my collections” (Chalayan, 2016). Chalayan demonstrated this interest in technology in his
Autumn/Winter
inspired
by
the
1998
idea
of
collection, pixels
and
titled
‘Panoramic’,
human
data.
This
collection was also shaped by the impending millennium and the expanding role of technology.Although many of Chalayan’s technology,
collections this
showcase
‘Panoramic’
the
impressive
collection
uses
highlighted
of the
potential downsides in the expansion of the digital world. Chalayan
saw
the
loss
of
individuality
as
a
key
disadvantage of technology, this notion was explored in several different ways throughout the show.
13
Source: https://www.bloomsburyfashioncentral.com/products/fashion-photography-archive/image/hussein-chalayan-fall-winter-1998-58963
I’ve always been interested in technology, and there are elements of technology in all of my collections.
HUSSEIN CHALAYAN (CHALAYAN, 2016)
The show began with a row of models, clothed in identical black dresses with a rounded-point hood surrounding their faces, almost completely masking the models’ identity. The entire collection was made up of blacks and greys, with the occasional pop of red, taking
away
the
uniqueness
and
diversity
of
each
model’s
ensemble. At several points in the show, models emerged with their face completely covered, either by knitted coverings, often with a rounded point adding height to the back of their head, or reflective
metal-like
masks.
These
head-coverings
completely
obscured the model’s identity, making humans appear more like robots or aliens. This interpretation of the theme of technology is particularly rare, taking a look at the negatives, rather than just the positives of an increase in technology and the digitisation of the world.
The
collection
including
consisted
cocoon
of
dresses
a
range
oversized
of
minimalist
turtleneck
garments,
jumpers,
ankle-
length coats and asymmetric knit dresses. The silhouette of each piece became particularly important as Chalayan played around with
shape
and
form,
creating
geometric
contours
in
each
ensemble. With the lack of colour and pattern in the collection, the fabrics used were highlighted, with the shine of silk or the texture of a knit standing out against the abundance of black garments.
14
The model’s hair and make-up reflected the structural collection, with red bluntly-cut fringes featuring on almost all models and coloured squares of perspex attached to many model’s lips - akin to a pixel. This concept soon evolved into mirrors protruding from models' necks or large panes of perspex attached to the side of several models heads - again hinting at digitisation.
Source: http://firstview.com/collection_image_closeup.php?of=41&collection=6591&image=970180#.X-tnT9j7Q2w
“I’ve
always
choreographed
my
shows
to
create
a
cultural
experience for the audience” (Chalayan, 2016). The finale of the show began in complete darkness; two screens above the runway suddenly light up, displaying pixels in a range of muted colours, before the lights go up on the runway. The audience is presented with a lineup of models, each dressed in a nude bodysuit, holding a large cube lit up in the colours shown on the screens above the model’s heads - as if the models themselves are pixels. Chalayan purposely chose this as the last image the audience saw before the room descended into darkness - a look at our potential future with a continued increase in technology.
I’ve always choreographed my shows to create a cultural experience for the audience.
HUSSEIN CHALAYAN (CHALAYAN, 2016)
15
WATCH THIS
TAP TO PLAY
In Panoramic, Chalayan toys with the idea of Pixels. The show starts with photographs of landscapes that transform into pixels, making it impossible to recognise them.
This
metamorphose
is
revisited
at
the
wherein each model holds a lit up cube: a pixel.
16
finale
TRY IT ON!
TAP TO OPEN IN INSTAGRAM
TAP TO OPEN IN INSTAGRAM
17
As
these
shows
Source: https://newsroom.intel.com/news/paris-fashion-week-intel-enters-european-market-designer-hussein-chalayan/#gs.p950br
Source: http://firstview.com/collection_image_closeup.php?of=161&collection=12758&image=1695406#.X-tpo9j7Q2x
Source: https://www.vogue.co.uk/article/suzy-menkes-alexander-mcqueen-savage-beauty
E N D
N O T E S
have
demonstrated,
technology
has
expanded what designers and runways shows are capable of;
this
can
only
continue
as
technology
develops.
Technology offers unprecedented opportunities in fashion; in what designers are able to create and how these fashions are disseminated. Advancements in technology present a chance for experimental ideas and new forms of fashion shows,
including
the
use
of
AR
technology,
allowing
audiences everywhere to feel a part of the fashion show. History has shown what designers are capable of with the use of technology, and this relationship will only grow as a response
to
COVID-19,
the
further
democratisation
of
fashion and the creation of a sustainable fashion industry.
Amelia Spinks Writer & Editor
18
R E F E R E N C E S
Mower, S., (2018) ‘Remembering the Potent Performance Art of Alexander McQueen’s Collection No. 13—20 Years Later’, Vogue, 14th September. Available at: https://www.vogue.com/article/alexander-mcqueen-no-13
Victoria and Albert Museum (2015), Fashion in Motion / Alexander McQueen, 19th June. Available at: https://www.youtube.com/watch?v=QwiUJ-xK3ZE
McQueen, A., (2007) from The MET, (2011) Alexander McQueen Savage Beauty, Dress, No. 13, spring/summer 1999. Available at: https://blog.metmuseum.org/alexandermcqueen/dress-no-13/
Harlow, S., (2011) from The MET, (2011) Alexander McQueen Savage Beauty, Dress, No. 13, spring/summer 1999. Available at: https://blog.metmuseum.org/alexandermcqueen/dress-no-13/
Victoria and Albert Museum (2008), Fashion in Motion / Manish Arora, 3rd September. Available at: https://www.vam.ac.uk/articles/fashion-in-motion-manisharora
Chalayan, H., (2016) from Bolton, A., Manus x Machina: Fashion in the Age of Technology. New York: The Metropolitain Museum of Art
19
MEET
THE
TEAM
AMELIA SPINKS
MA Fashion Cultures and Histories Writing, Editing a.spinks0320171@arts.ac.uk
RUTUJA JADHAV
MA Strategic Fashion Marketing Layout Design, AR Filters r.jadhav0120191@arts.ac.uk
RACHANA SHETE
MA Fashion, Film and Digital Production Video Conceptualizing, Video Editing r.shete0220201@arts.ac.uk
KHUSHBOO SAMBHWANI
MSc Applied Psychology in Fashion Video and Image Research, Video descriptions k.sambhwani0620201@arts.ac.uk
YNAP X LCF 2020
20
TECH
TALES
A Saga of Fashion and Technology through the ages.
YNAP x LCF 2020 © London College of Fashion UAL University of the Arts London United Kingdom.