EvErChAnGiNg THE
CANVAS
.
EvErChAnGiNg THE
CANVAS
Unique
1
EVER-CHANGING
.
style for the
modern
young woman.
WOMENSWEAR FaShIoN dEsIgNeR.
2
06-10 Understanding the issue.
The EvErChAnGiNg Canvas. A clothing collection with ever-changing stylistic possibilities. All of which produce a unique look for the wearer and encourage individulaity and ever-lasting style in a copycat, fast-fashion landscape.
When the WEARER becomes the CrEaToR Of their own unique look.
3
14 Artistic inspiration
73 GEOMETRIC ABSTRACTION
38 PRIMARY research
92 The EvErChAnGiNg CANVAS
CONTENTS: 05-10
Design CONNECTION
11-20
cReAtIvE, InNoVaTiVe, UnIqUe
21-32
WHO, WHAT, WHY?
33-40
Theoretical RESEARCH
41-52
Literature Research
53-60
CREATIVE RESEARCH
61-82
Injecting InDiViDuAlItY
83-88
EXPERIMENTATION and CREATION
89-116
PRACTICAL solutions
117-127
REFERENCING
4
DeSiGn
CONNECTION
CHAPTER Personal DESIGN PHILOSOPHY UNDERSTANDING the issue SOLUTIONS
5
PERSONAL DeSiGn Philosophy EXPERIMENTAL design mixed with durable fabrics and a refreshing, CONTEMPORARY colour palette combine to form an INNOVATIVE, collection of UNIQUE garments with EvEr-ChAnGiNg stylistic possibilities.
6
In response to a homogenised fashion landscape and the OVERCONSUMPTION of short-lived trends. The collection aims to promote individuality through long-lasting, EXPERIMENTAL design.
7
1
8
In today’s consumer society it is the norm to to access and engage with fashion primarily by exchanging money for product; it is expected that these same products will look dated and stylistically incongruous in six months (Fletcher, 2012).
UNDERSTANDING the ISSUE.
9
A young woman’s constant desire to indulge in the latest fashion fad creates a wardrobe of clothing that lacks individuality, cluttered with copycat styles that cause stress and confusion in every day dressing.
SoLuTiOnS The aim of this project is to help break a young woman’s cycle of overconsumption and promote individuality and stylistic creativity through the creation of a contemporary modular clothing collection. The collection will provide maximum interchangeability and neverending stylistic possibilities through the incorporation of innovative zip off modules. These modular sections can be swapped and changed, providing a young woman with the building blocks to produce unique looks that cater to her own stylistic needs.
The use of durable fabrics has strengthened the concept of ‘long lasting’ style and contrasting textures have been used throughout the collection to produce interesting results. The ambition is to incorporate experimental, creative techniques used within contemporary art through screen printing, colour blocking and texture play, for a refreshing and lively aesthetic. The interchangeable modular components will act as the mixed media that will contribute to the creation of the young woman’s unique canvas of style.
10
CREATIVE, INNOVATIVE,
UNIQUE
CHAPTER DESIGN Rationale CONCEPT ThEmE
11
Just 20% of clothes in a WOMAN’S WARDROBE ever get worn and the most stylish are often the
GUILTIEST HOARDERS (Berkeley, 2014).
Unworn, unloved clothing contributes to a cluttered wardrobe of schizophrenic style that fails to effectively represent a woman’s unique personality. Identifying this issue triggered the development of a collection that enabled maximum style from a minimal wardrobe.
12
DESIGN Rationale IDENTIFICATION
We are privy to a lot more information through communication on all levels than ever before and people are LISTENING, ABSORBING and EXPERIENCING this new stream of consciousness. Accessibility to fashion has rapidly increased as certain blogs have gained followers and critical acclaim, this has created a consumer that is more aesthetically tuned and decisive when it comes to purchasing fashion, striving for exclusivity and originality in what they wear. Injecting individuality through a carefully considered combination of colour, texture and print became a crucial element to the design process; these combinations were representative of the contemporary art that inspired the collection’s aesthetic.
13
The emergence of the creative consumer will be one of the most significant developments in future fashion (Quinn, 2012). In response to this, the collection provides the user with the creative freedom to construct a unique look through quirky modular components that allow maximum interchangeability.
3
2
14
EXPERIMENTAL
15
design, with EvEr-cHaNgInG stylistic possibilities
CONCEPT
When the WEARER becomes the CrEaToR. The seasonal fashion calendar promotes a relentless drive for speed, waste and overconsumption, which now characterises the entire industry (Parry 2014). The exploration and realisation of fastfashion and its effects on both the environment and consumer has become and inherent part of the collection’s ethos. The Ever-changing Canvas collection was created challenging this calendar of overconsumption, encouraging young women to adopt a sustainable, creative approach to clothing consumption. The construction of the modular collection involved the use of zips as the main components, adding durability whilst also becoming a quirky stylistic feature.
From the exploration of zip off components, the concept of Tran seasonal fashion was investigated in order to stay true to the collections long lasting properties. The collection’s aim was to highlight the problem of overconsumption in the fashion industry. The collection encourages young women to treasure their clothes and value their unique properties, treating the modular components as collector items that will aid the young woman on her journey into a lifestyle consisting of fewer clothes.
16
4
17
CANDE AGUILAR
ART THAT WON’T GIVE YOU AN ANSWER , BUT WILL GET YOU CLOSER TO THE TRUTH.
ThEmE EXPERIMENTAL, FRENETIC CoNtEmPoRaRy Art.
Design inspiration was drawn from techniques used in contemporary artwork, EXPERIMENTAL scribbles, FRENETIC collage layering and the combination of vibrant, refreshing colours. The layering and frenetic experimentation within this artwork links to the way in which the collection is worn. The wearer can experiment with the zip off MODULAR components to create their own canvas of style. A completely new look can be created within seconds, mimicking the urgency of the frenetic art. Abstract expressionism was explored as a main theme, this form of art emerged in the 1940’s primarily in New York. Abstract artists valued spontaneity and improvisation. Art critic Harold Rosenberg (1952) viewed modern art in the twentieth century as a giant laboratory where experiments took place. The experiment of abstract art was an occasion for spontaneous action, considered much more creative than coldly preconceived designs.
8
6
7 5
18
Continuous and rAnDoM ABSTRACT lines mixed with therapeutic ‘doodles’ are easy and satisfying modes of artistic expression. NO RULES EXIST with this kind of art and the concept of ‘not knowing’ where an idea will take you has influenced an uNcOnVeNtIoNaL, SPONTANEOUS black and white scribble print. The authentic design is an eNeRgEtIc and lively interpretation of the customer’s QUIRKY PERSONA.
19
20
WHO,
WHAT,
WHY?
CHAPTER MARKET Muse and customer HISTORY
21
10
KENZO
9
ICEBERG
MARKET The UK fashion sector is highly dynamic, drawing its influences from a global market and dominated by seasonal trends. The chosen market is Designer as this best represents the concept and theme chosen. Competitor research was undertaken, investigating designer brands that have a youthful edge that use bold vibrant colours and contrasting textures. These designer brands included MSGM, Iceberg and Kenzo, all of which are spontaneous and fun with a youthful attitude. Their clever use of colour was explored along with energetic contemporary print work and a fresh approach to contemporary design for the modern young woman. 11
MSGM
22
Stockists Reaching a WORLDWIDE audience is crucial and so a STRONG online presence is essential. Suitable stockists have been explored in order to reach the main target market effectively.
23
ONLINE:
UK:
Farfetch And Other Stories Urban Outfitters Net-a-porter Very Exclusive The Corner
Other shop Norwich: Finch Dover street market
FRANCE:
JAPAN:
Colette
Beams A Arm Desperado Double vision
MUSE The importance of injecting individual style into a copy-cat fast fashion culture became a focal point of the project and to achieve this, a quirky muse was chosen for creative inspiration throughout the design development stages. 12
SUSIE LAU
24
Head to Toe
Fun and unpredictable style. 13
Susie Lau is a British fashion blogger whose blog ‘style bubble’ has become widely recognised.
25
“I used to describe myself as “the girl who would wear skirts over trousers”. That’s basically a simple summation of my penchant for layering up pieces unexpectedly or trying out silhouettes or shapes that might be come off as challenging.”- Susie Lau (2014)
14
“I’m an indulgent cake decorator that won’t stop augmenting an outfit until it makes me happy.”Susie Lau (2014)
26
The CUSTOMER The muse helped identify the customer and an initial online questionnaire (see appendix 1) began to paint a picture of a modern young woman aged 1830 trapped in an endless over shopping cycle. The owner of an overflowing designer wardrobe and a hoarder of conflicting styles that are difficult to integrate into her dynamic metropolitan lifestyle.
27
Every day dressing is a stressful, time consuming task that involves rummaging through the miss-matched mayhem of her cluttered closet. Her confused sense of style fails to effectively represent her quirky personality, as she has become consumed by the ‘have it all’, media-savvy Instagram culture of avid trend followers.
TOO MANY CLOTHES NOTHING TO WEAR
28
HiStOrY Fashion THEN
15
Wartime regulations stipulated that nothing should go out of style before it wore out and clothes were considered a valuable commodity. Clothes rationing triggered a ‘make do and mend’ culture, which dominated the 1940’s.
Post-war music-centered subcultures displayed unique personalised style. These subcultures involved outrageous DIY style inventions, which are a rarity within todays fashion landscape.
29
16
WHY DO WE NOT VALUE CLOTHES AS MUCH ANYMORE?
WHY IS OUTRAGEOUS DIY FASHION NOW A RARITY?
30
Fashion NOW The fashion industry has SIGNIFICANTLY evolved. The evolution of ‘Throwaway fashion’ in the 1990’s marked a change in the way people began to consume fashion. Now we live in a world where teenagers are more interested in constructing an identity online than they are in making an outward show of their allegiances and interests. We are living in a world dominated by social media, where you are under constant surveillance by your peers.
The internet doesn't spawn mass movements, bonded together by a shared taste in music, fashion and ownership of subcultural capital: it spawns brief, microcosmic ones. These brief movements contribute to throwaway styles that weaken subcultural identity. Quick response systems in which styles are filtered down from the catwalk to high street stores within days are making consumers more demanding and fashion-savvy.
31
Although FAST FASHION is a prominent theme in contemporary fashion culture, people are beginning to question WHERE their clothes are made.
17
Fashion revolution day was created in remembrance of the Rana Plaza factory collapse in Bangladesh. The day sought to remember the dead and injured, as well as demanding transparency from clothes manufacturers about “who made my clothes�.
32
THEORETICAL Research
CHAPTER DaTa ANALYSIS QUESTIONNAIRE Timeline Interviews
33
DaTa ANALYSIS In the past, the fashion world has seemed like a place out of reach to the general public. It is clear that over time consumption of fashion has increased, the advent of the internet playing a key part in this.
18
Total UK household consumption on clothing and footwear is € 59 billion. Thus, British consumers spent about € 900 on fashion; this is slightly above the EU-27 average of € 700 per year. (Fashion United, 2013) Chairman of the British Fashion Council, announced updated figures showing an 22% increase in clothing expenditure since 2009.
34
QUESTIONNAIRE
Results from an onine questionnaire (Appendix 1) show how contemporary consumption is largely based online. 40 young women aged 18-30 were asked a series of questions.
100% of women aged 18-30 stated they shop NEW once a week to every 3 months 0% of women answered ‘Never’ when asked if they shop online £31-£60+ is the amount spent on clothing in a typical month for 60% of young women asked
35
These results show a generation of overshoppers whose online spending habits have led to a cluttered closet of confused style.
36
3 GENERATIONS OF WOMEN
3 EXPERIENCES
37
TIMELINE InTeRvIeWs A personal take on fashion history
Timeline interviews were carried out with three generations of women (see Appendix 2). The results showed how consumption and attitudes towards fashion have changed overtime. It shows how the advent of the internet has noticably changed the way we consume. From buying cheap fabrics and making your own clothes to easily accessing ready made cheap fashion online with just the click of a button.
HELEN COOPER- 1980’S
RACHEL ELLIOTT- 00’S
AUDREY TEBBATT- 1950’S
38
39
“The internet has definitely effected how we buy clothes! You type ‘blue jumper’ for instance in google and hundreds of different style options come up! Fashion is so easily accessed now; I think that’s why young women today own so many different styles.” (Helen Cooper 2015)
50’s
“My mum had a treadle sewing machine and the next door neighbour was a dressmaker so a lot of my clothes were hand made. I didn’t buy very many at all.”
80’s
“I used to make my own clothes quite often. Fabrics were really really cheap in them days and living near leicester there was a lot of factory shops to go and buy fabric offcuts.”
00’s
“Yes, the internet has made shopping more accessible. I often browse internet sites at home when I am watching the TV and often buy items online that I don’t particularly need! It removes the stress of queuing and allows you to shop in your own time.”
40
LITERATURE ResEaRcH
CHAPTER The EMERGING consumer Sustainable design SLOW FASHION forward
41
THE EmErGiNg consumer
Eco brands are set to make a big comeback, as the evidence is mounting that consumers associate eco with quality, and care more about where and when their clothes are manufactured. (White 2011).
The emergence of a fashion conscious consumer will be one of the most significant developments in future fashion. The ever-changing Canvas collection is designed to cater for this shifting consumerist paradigm.
42
The flood of fast, throwaway fashion on the high street in recent years has inevitably led to questions about where the clothes are being made, who's making them and in what conditions, not to mention the environmental effects of mass production, and shocking waste. Recognising the importance of creating clothing that fosters long term value, has encouraged a unique, creative and artistic aesthetic, reducing a young woman’s constant need to overconsume and encouraging the wearer to treasure their clothes for longer.
43
Consumers now have access to an unprecedented wealth of style information and are beginning to trust their own interpretation and personal taste rather than mimicking select trends diffused via fashion advertising and shop windows. It can only be hoped that this disillusion with fast fashion and disinterest in passing trends will translate into greater consumer demand for higher quality, unique pieces that require more realistic production times.
44
Responding to increasing consumer demand for more thoughtfully designed, higher quality products will require a more systematic approach to SUSTAINABLE DESIGN and a holistic perspective that takes into account not only how fashion is produced, but also how it is consumed.
Sustainable design
The biggest problem with the fashion industry today is the way we consume. Materials selection would be much less important if we were to consume less, better, and more sustainably.
45
Just a few decades ago, fashion designers presented only two collections a year: spring/summer and autumn/winter. Today’s mass market brands rotate their in-store collections as often as every two or three weeks, a turnover that equates to roughly 20 collections per year (BSR 2012).
'Being in those houses is like running on a diamondplated hamster wheel: you have to go faster and faster and faster, and chances are still very high you will fall off.'".
19
(Hussein Chalayan, 2010)
Here Chalayan is emphasising the Fashion Designers to ovrproduce. Canvas collection emphasises the reducing consumption by enabling stylistic capabilities.
pressure on The Ever-Changing importance of never-ending
46
As a Fashion Designer
it is important to help people buy more SUSTAINABLY and to educate both consumers on what they can do to lessen the environmental and social IMPACT of the fashion industry. The pieces of The EvEr-ChAnGiNg Canvas collection represent a move away from a culture of ‘throwaway chic’, considering a sustainable and quality driven SLOW FASHION FUTURE of conscious consumers. The use of PANELS and zippers to create garments that can be ReCoNfIgUrEd into multiple outfits creates increased product versatility and provides a lasting sense of purpose in an otherwise fickle industry.
47
Sometimes your creative process is blocked by sustainability considerations, but then you take your design in a different direction and end up creating a much more interesting final product. (Castle 2012)
48
SLOW
fashion
FORWARD
For some designers, a slow fashion mind set is central to their design process and brand identity.
CASE STUDY 20
21
49
For luxury fashion brand ‘Hermes’, a commitment to slow fashion has served to reinforce its brand identity of exceptional quality and exclusivity. In response to high demand for its handbags, the French fashion house refused to abandon its traditional manufacturing techniques or drastically increase production volumes. This resulted in years-long waiting lists for some of the brand’s most popular models.
SLOW
fashion
VALUES
23
Slowing down CONSUMPTION
22
SEEING the BIGGER picture
25
24
BUILDING Relationships
PROFITABILITY
26
ACKNOWLEDGING human needs
50
INNOVATIVE CLOTHES THAT PRODUCE MAXIMUM STYLE.
51
Telling the story behind a garment or inviting the customer to be part of the design process can satisfy the needs of
and participation.
creativity, identity
The Ever-changing Canvas collection containing 8 convertible looks, encourages consumers to experiment with style in order to express their
unique personal identity.
CONVERTIBLE, CREATIVE A
looks.
User-centred
approach to design gives the user
the ability to become the CrEaToR of their own unique look with endless stylistic possibilities.
Tran seasonal properties zip-on MODULAR components
The incorporation of
through zip-off, encourages maximum wear and reduces a young woman’s desire to constantly buy new.
52
CREATIVE Research
CHAPTER Gallery Visits ARTIST analysis ExpErImEnTaTiOn
53
GALLERY VISITS GALLERY VISITS were an essential research method that inspired my collections theme and aesthetic. Artistic methods were researched and recorded and notes were taken on the techniques used to produce the artwork. Collecting this primary imagery strengthened the project proposal and creative direction. Exploring frenetic contemporary artwork led to the creation of a quirky collection with vibrant graphic modular components that act as the mixed media for the customer to produce their own art piece. Mimicking the researched art work throughout the developmental stages triggered the incorporation of quirky colour blocking and experimental screen printing, along with a creative illustrative style. The art work injected authenticity into the designs that aim to promote individuality in a copy-cat fashion culture.
-SAATCHI GALLERY -HAYWARD GALLERY -TATE MODERN -THE PHOTOGRAPHERS’ GALLERY -THE WHITECHAPEL GALLERY
54
My answer today is “EXPERIMENT”. It’s best if you don’t ever know where you are going because some of the new territory you venture into will give you new insights and push you into some new places. Doing work in a controlled way does not make for interesting results. (Keri Smith 2007)
55
ARTIST AnAlYsIs
27
Keri Smith is a guerilla artist that has inspired the collections aesthetic. She considers the IMAGINATION as the most important source of information and experimentation is a
crucial element
of her work.
56
29
28
ENCOURAGING THE READER TO BECOME THE
57
CrEaToR
30
58
Atelier Bingo are two young artists whose work conveys a sense of experimentation and creative urgency. Collage, SCREEN PRINT, gouache, pens, inks and digital all feature in their busy work, creating a
FRENETIC STORM
of colours and shapes. 32
31
33
59
34
60
INJECTING
INDIVIDUALITY
CHAPTER Inspiration EXPERIMENTATION Idea Generation
61
Putting an outfit together is like an abstract jigsaw puzzle (Susie Lau 2014)
62
63
The girl on the street who loves to layer
Street style was researched and the way the young women layered their clothes influenced the collection’s silhouettes.
64
CAN THE
STREETS
STILL INFLUENCE FASHION?
"The street seems to have become the internet, and so many people are speaking on it at the same time. I personally haven't been able to hear anyone clearly for a long time… But maybe I'm not on the street the way I used to be…" (Rick Owens 2013)
65
66
The EFFECTIVE layering of print and block colour was carried out and interesting silhouettes were formed from the contemporary artwork.
67
“I see myself as an experimenter when it comes to designing. I work in a very artistic way in order to develop a unique outcome. “ Sophie Cooper 2015
68
35
EXPERIMENTAL, FRENETIC LAYERS
Imagery of experimental, frenetic collage and sreen printing were used to help form a layered silhouette. This was a creative way of developing initial designs, whilst mimicking the consruction of the artwork.
69
36
70
37
Initial sketches were derived from these ABSTRACT silhouettes.
71
Experimental stand work was carried out to mimick the abstract shapes derived from collage inspiration.
72
39
GeOmEtRiC ABSTRACTION
A constant feature
38
73
THE CIRCLE
40
was extracted from geometric artwork. The way in which it is a constant feature throughout, became an inherent part of the collection’s aesthetic. The circle became the
point
focal
with everything else changing around it.
74
Initial line ups were formed to help develop a well balanced range.
FURTHER TOILING TO INFORM A CONSISTENT SILHOUETTE THROUGHOUT. UNDERSTANDING INNOVATIVE WAYS TO USE THE ZIP.
75
EXPERIMENTAL Layers
USING THE ZIP TO INFORM CONVERTIBLE LAYERS
76
A frenetic energetic scribble was evident throughout the experimental artwork researched. The development of this scribble was carried out to find an effective surface technique.
LS,
SWIR G I B
77
, CURLS T H G TI
,
LOOPS
78
THE SCRIBBLE. Exploration of scribble as a key part of my experimental aesthetic.
79
Textile and print development:
80
81
82
EXPERIMENTATION AND CREATION
CHAPTER TOILING CONCEPT DEVELOPMENT COLOUR EXPERIMENTATION FABRIC
83
The EvEr-ChAnGiNg CANVAS.
EVER-CHANGING STYLISTIC POSSIBILITIES FROM JUST ONE LOOK
84
EXPERIMENTATION with zip placement was essential in order to create a variety of unique modular looks.
CASUAL to STRUCTURED in seconds
85
41
COLOUR EXPERIMENTATION
A refreshing colour palette was drawn from the contemporary artwork explored and a large amount of experimentation was carried out to achieve the perfect balance.
86
FABRIC
NEOPRENE
CANVAS
DOUBLE FACED JERSEY
WOOL FELT
THICK RIBBING DURABLE CONTEMPORARY QUIRKY CONTRASTING TEXTURES
87
The EvErChAnGiNg CANVAS
88
PRACTICAL SOLUTIONS
CHAPTER CREATIVE OUTCOME The EvEr-ChAnGiNg CANVAS 2015
89
8 CONVERTIBLE looks for the quirky consumer.
.
90
EvErChAnGiNg THE
CANVAS
photography: DeSiGnEr: Model:
91
MUA: Hair:
.
India Hobson
Sophie Cooper
Harriet Lythell Serena Maya
Wigs and Warpaint
92
93
94
95
96
WHEN THE WEARER BECOMES THE CrEaToR.
97
98
99
YOUR
STYLE
SHOULD BE YOUR
STORY. 100
UNIQUE
STYLE FOR THE YOUNG OVERSHOPPER. 101
102
103
104
105
106
107
8 CONVERTIBLE LOOKS WITH NeVeR-EnDiNg STYLISTIC POSSIBILITIES.
108
LOOK 1
109
LOOK 2
Freedom to
EXPERIMENT. 110
LOOK 3
111
LOOK 4
LOOK 5
112
LOOK 6
113
LOOK 7
LOOK 8
114
THE
EvEr-ChAnGiNg
CANVAS 2015
From extensive research the current problem of fashion overonsumption was recognised and how the advent of the internet has influenced a copy-cat culture of avid trend followers. In response to this contemporary issue, The EvErChAnGiNg CANVAS collection 2015 was created. The collection promotes individuality, discourages overshopping and provides EvEr-ChAnGiNg style for a young woman, enabling her to interact and engage with the clothes she wears. The modular collection encourages the wearer to treasure the convertible pieces, the modular components acting as the mixed media that forms a unique artistic look and a quirky canvas of style. Although there is no quick solution for a copy-cat culture of overshoppers, the collection contributes to a future fashion landscape. A landscape in which a conscious consumer of fashion will treasure their wardrobe and use it to it’s MAXIMUM POTENTIAL.
115
My ambition as a Fashion Designer is to continue taking into consideration this ongoing ISSUE of overconsumption, and continue to develop interesting solutions to help combat it.
116
REFERENCING
CHAPTER BIBLIOGRAPHY IMAGE LIST APPENDICES ACKNOWLEDGEMENTS
117
BIBLIOGRAPHY BERKELEY, Anna (2014). Fashion hoarders: the women who only wear 20 per cent of their wardrobes. Telegraph, 16 November. BHARDWAJ, Vertica (2010). Fast fashion: response to changes in the fashion industry. The International Review of Retail, Distribution and Consumer Research, 20 (1), 166-169. BSR (2012). Sustainable Fashion Design: oxymoron no more? BSR sustainable Fashion Design, 1-8. DICKSON, MAUREEN et al org/
(2015). Slow Fashion Forward. [online]. http://slowfashionforward.
DUFAULT, Amy (2012). Author Interview: Elizabeth Cline of Overdressed: The Shockingly High Cost of Cheap Fashion. [online]. http://ecosalon.com/author-interview-elizabeth-cline-ofoverdressed-the-shockingly-high-cost-of-cheap-fashion/ FASHION UNITED (2013). Facts and Figures about the Fashion Industry. [online]. http://www. fashionunited.co.uk/facts-and-figures-in-the-uk-fashion-industry FLETCHER, Kate (2014). Fashion and Consumerism. [online]. http://katefletcher.com/category/ fashion-and-consumerism/ LAU, Susie (2014). Signing off a style signature. [online]. http://inspiration.shopstyle. co.uk/Susie-Lau-Personal-Style-36081758 OWENS, Rick (2013). can the streets still influence fashion?. [online]. https://i-d.vice. com/en_us/article/can-the-streets-still-influence-fashion PARRY, Carrie (2014). Traditional fashion calendar fuels overconsumption and waste. The Guardian. [online]. http://www.theguardian.com/sustainable-business/sustainable-fashionblog/2014/sep/17/fashion-calendar-sustainable-climate-change-london-fashion-week PAUL, Stella (2000). Abstract Expressionism. [online]. http://www.metmuseum.org/toah/hd/ abex/hd_abex.htm QUINN, Bradley (2012). Fashion Futures. London, Merrell. ROBINSON, Zoe (2013). The war on disposable fashion: is make, do and mend back in vogue? The Guardian. [online]. http://www.theguardian.com/sustainable-business/sustainable-fashionblog/disposable-fashion-make-do-mend-vogue THEARTSTORY.ORG (2012). Abstract Expressionism. [online]. http://www.theartstory.org/ movement-abstract-expressionism.htm WHITE, Belinda (2011). Fast fashion: Is the party over? Telegraph. [online]. http://fashion.telegraph.co.uk/news-features/TMG8438891/Fast-fashion-Is-the-party-over.html ZDRIEU, Natalie (2007). Interview with Keri Smith. [online]. http://makezine.com/craft/ interview_with_keri_smith/
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End NOTES
119
1
Figure 1, pg 8. Hands holding screen print. [online]. http://atelier-bingo.fr/
2
Figure 2, pg 14. Wrap magazine. [online]. http://atelier-bingo.fr/
3
Figure 3, pg 14. Hand holding up card. [online]. http://atelier-bingo.fr/
4
Figure 4, pg 17. Dirty south. [online]. http://candeart.com/home.html
5
Figure 5, pg 18. Screen print 1. [online]. http://atelier-bingo.fr/
6
Figure 6, pg 18. Cut outs. [online]. http://atelier-bingo.fr/
7
Figure 7, pg 18, Screen print 2. [online]. http://atelier-bingo.fr/
8
Figure 8, pg 18, Screen print 3. [online]. http://atelier-bingo.fr/
9
Figure 9, pg 22, Kenzo pre-fall 2015. [online].https://www.kenzo.com/en/collections/women/pre-fall-2015
10
Figure 10, pg 22. Iceberg Fall/Winter 2014-2015 ADV. [online]. http://www.iceberg. com/adv-2014/
11
Figure 11, pg 22. MSGM woman Cruise. [online]. http://msgm.it/ currentcollections#woman-cruise
12
Figure 12, pg 24. Susie Lau and her wardrobe. [online]. http://stylebubble.co.uk/ style_bubble/2014/01/neon-lines.html
13
Figure 13, pg 25. Susie Lau street style 1. [online]. http://www.harpersbazaar.com/ fashion/street-style/g3390/paris-street-style-fall-2014/
14
Figure 14, pg 26. Susie Lau street style 2. [online]. http://estilo-tendances.com/ nyfw-february-2015/
15
Figure 15, pg 29. Utility suits. [online]. http://www.marieclaire.co.uk/ blogs/544203/1940s-fashion-the-decade-captured-in-40-incredible-pictures.html
16
Figure 16, pg 29. Punks. [online]. http://www.metropostcard.com/history1946-1990. html
17
Figure 17, pg 32. Fashion revolution day, [online]. http://fashionrevolution.org/
18
Figure 18, pg 34. Consumption expenditure. [online]. http://www.fashionunited. co.uk/facts-and-figures-in-the-uk-fashion-industry
19
Figure 19, pg 46. Hussein Chalayan. [online]. http://chalayan.com/blog/
20-21 Figures 20-21, pg 49. Hermes Logo and writing. [online]. http://www.hermes.com/in-
dex_uk.html
22-26 Figures 22-26, pg 50. Slow Fashion Values. [online]. http://slowfashionforward.org/
slowfashionvalues
27
Figure 27, pg 56. Keri Smith. [online]. http://www.kerismith.com/
28
Figure 28, pg 57. The portable hole/portal. [online]. https://www.flickr.com/photos/kerismith/2084240925/in/set-72157603167247698/
29
Figure 29, pg 57. Finish this book. [onine], http://www.penguin.com/book/finishthis-book-by-keri-smith/9780399536892?sp=pinterest&share=bookpage
30
Figure 30, pg 58. You really can do whatever you want. [online]. https://www. flickr.com/photos/kerismith/2068995618/
31
Figure 31, pg 59. Screen print 4. [online]. http://bingo2000.tumblr.com/
32
Figure 32, pg 59. Collage 1. [online]. http://bingo2000.tumblr.com/
33
Figure 33, pg 59. Screen print 5. [online]. http://bingo2000.tumblr.com/
34
Figure 34, pg 60. Screen print 6. [online]. http://bingo2000.tumblr.com/
35
Figure 35, pg 69. Screen print 7. [online]. http://bingo2000.tumblr.com/
36
Figure 36, pg 70. Screen print 8. [online]. http://bingo2000.tumblr.com/
37
Figure 37, pg 71. Collage 2. [online]. http://bingo2000.tumblr.com/
38-40 Figure 38-40, pg 73-74. Acrylic on canvas. [online]. http://www.stas-volovik.
com/2012-2014.html#
41
Figure 41, pg 86. J’ai Un thermos dans ma polo. [online]. http://atelier-bingo.fr/
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IMAGES
121
Figure
Page
Artist/ Author/ Designer
Name/Description
Year
Medium
URL
Last Accessed
1
8
ATELIER BINGO
Hands holding Screen print
2015
Artwork
http://atelierbingo.fr/
12/05/2015
2
14
ATELIER BINGO
Wrap Magazine
2015
Artwork
http://atelierbingo.fr/
12/05/2015
3
14
ATELIER BINGO
Hand holding screen print
2015
Artwork
http://atelierbingo.fr/
12/05/2015
4
17
CANDE AGUILAR
‘Dirty South’ - mixed media on board
2014
Artwork
http://candeart.com/home. html
12/05/2015
5
18
ATELIER BINGO
Screen print 1
2015
Artwork
http://atelierbingo.fr/
12/05/2015
6
18
ATELIER BINGO
Cut Outs
2015
Artwork
http://atelierbingo.fr/
12/05/2015
7
18
ATELIER BINGO
Screen print 2
2015
Artwork
http://atelierbingo.fr/
12/05/2015
8
18
ATELIER BINGO
Screen print 3
2015
Artwork
http://atelierbingo.fr/
12/05/2015
9
22
KENZO
KENZO prefall 2015
2015
Photo
https://www. kenzo.com/en/ collections/ women/prefall-2015
12/05/2015
10
22
ICEBERG
Iceberg Fall/ Winter 20142015 ADV
2015
Photo
http://www. iceberg.com/ adv-2014/
12/05/2015
11
22
MSGM
MSGM woman Cruise
2015
Photo
http://msgm.it/ currentcollections# woman-cruise
12/05/2015
12
24
SUSIE LAU
Susie Lau and her wrdrobe
2014
Photo
http://stylebubble.co.uk/ style_bubble/2014/01/ neon-lines.html
12/05/2015
13
25
SUSIE LAU
Susie Lau street style 1
2014
Photo
http://www. harpersbazaar. com/fashion/ street-style/ g3390/parisstreet-stylefall-2014/
12/05/2015
14
26
SUSIE LAU
Susie Lau street style 2
2014
Photo
http://estilotendances.com/ nyfw-february-2015/
12/05/2015
15
29
FRANCESCA RICE
Utility Suits
2014
Photo
ttp://www. marieclaire. co.uk/ blogs/544203/ 1940s-fashionthe-decade-captured-in-40incredible-pictures.html
12/05/2015
16
29
ALAN PETRULIS
Punk women
2006
Photo
http://www. metropostcard.com/history1946-1990. html
12/05/2015
Figure
Page
Artist/ Author/ Designer
Name/DeYear scription
Medium
URL
Last Accessed
17
32
FASHION REVOLUTION. ORG
Who made my clothes
2015
Photo
http://fashionrevolution. org/
12/05/2015
18
34
FASHION UNITED
Consumption Expenditure
2013
Diagram
http://www. fashionunited.co.uk/ facts-and-figures-in-theuk-fashionindustry
12/05/2015
19
46
Hussein Chalayan
Hussein Chalayan
2015
Photo
http://chalayan.com/ blog/
12/05/2015
20-21
49
Hermes
Hermes logo and writing
2015
Logo
http://www. hermes.com/ index_uk.html
12/05/2015
22-26
50
SLOW FASHION FORWARD
Slow fashion values
2015
Artwork
http://slowfashionforward.org/slowfashionvalues
12/05/2015
27
56
KERI SMITH
Keri Smith
2015
Photo
http://www. kerismith.com/
12/05/2015
28
57
KERI SMITH
The portable hole/ portal
2007
Artwork
https://www. flickr.com/ photos/ kerismith/ 2084240925/ in/set72157603167 247698/
12/05/2015
29
57
KERI SMITH
Finish this book
2015
Paperback book
http://www. penguin.com/ book/finishthis-book-bykeri-smith/978 0399536892?sp= pinterest&shar e=bookpage
12/05/2015
30
58
KERI SMITH
You really can do whatever you want
2007
Artwork
https://www. flickr.com/ photos /kerismith/ 2068995618/
12/05/2015
31
59
ATELIER BINGO
Screen print 4
2015
Artwork
http://bingo2000.tumblr. com/
12/05/2015
32
59
ATELIER BINGO
Collage 1
2015
Artwork
http://bingo2000.tumblr. com/
12/05/2015
33
59
ATELIER BINGO
Screen print 5
2015
Artwork
http://bingo2000.tumblr. com/
12/05/2015
34
60
ATELIER BINGO
Screen print 6
2015
Artwork
http://bingo2000.tumblr. com/
12/05/2015
35
69
ATELIER BINGO
Screen print 7
2015
Artwork
http://bingo2000.tumblr. com/
12/05/2015
36
70
ATELIER BINGO
Screen print 8
2015
Artwork
http://bingo2000.tumblr. com/
12/05/2015
37
71
ATELIER BINGO
Collage 2
2015
Artwork
http://bingo2000.tumblr. com/
12/05/2015
38-40
73-74
STAS VOLOVIK
Acrylic on canvas
2014
Artwork
http://www. stas-volovik. com/2012-2014. html#
12/05/2015
41
86
ATLIER BINGO
J’ai Un thermos dans ma polo
2015
Artwork
http://atelier-bingo.fr/
12/05/2015
122
APPENDIX 1 QUESTIONNAIRE :
Questions and answers
40 young women aged 18-30 were asked the following… About how often do you shop for new clothes? Once a week- 10% 2-3 times a month- 40% Once a month- 30% Once every 3 months- 20% How often do you shop for clothing online? Extremely often- 15% Quite often- 40% Moderately often- 30% Slightly often- 15% NEVER- 0% In a typical month how much do you usually spend on clothing? £0-£15- 20% £16-£30- 20% £31-£60- 30% £60+ - 30% Do you buy mostly high street or designer goods? High street- 80% Designer- 20% Roughly what percentage of your wardrobe do you wear often (at least once a month) and why is this?
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20% I often forget what's in my wardrobe, as it's a mess! So I keep picking the same things from it! 30% - have a lot of going out clothes and some clothes do not fit or have gone out of fashion 20% - because I probably need to throw out the rest
APPENDIX 2 TIMELINE INTERVIEWS:
Questions and answers
The 50’s Audrey Tebbatt How often did you buy new clothes? My mum had a treadle sewing machine and the next door neighbour was a dressmaker so a lot of my clothes were hand made. I didn’t buy very many at all. What percentage of your wardrobe did you wear often? I wore pretty much all of it. Did you buy things to last? When I bought something new it would generally be ‘for best’ so I would try to make it last. When it got too small or I didn’t want it anymore it would get passed down to my cousins who were a few years younger than me. Were there fashion trends? And how often would these change? People used to try and make unique twists to commercial patterns to have their own take on it. Sometimes my dressmaker would give advice and ideas on what would suit me. You could buy certain looks but not to the extent there is today. It would be the length of dress, style of sleeve things like that.
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The 80’s Helen Cooper How often did you buy new clothes? Once or twice a month. Did you ever make anything for yourself? I used to make my own clothes quite often. Fabrics were really really cheap in them days and living near leicester there was a lot of factory shops to go and buy fabric offcuts. What percentage of your wardrobe did you wear often? I had a lot of clothes in my wardobe!! but they always got worn. When something wasn’t worn it was put in the attic to be saved and brought back down again if the fashion came back round again. I did eventually get rid of them but now regret it, as those are the things that are now in fashion and being sold in vintage shops everywhere. Did you buy things to last a long time? if so what were these items? No, I never had that in mind when I bought things. I didn’t really buy for quality, just for the look. Did you follow trends? Or was it more important for you to be unique in what you wore? No, you tended to follow what everyone else was wearing. Princess Diana was a main fashion icon in that decade. In the picture above the puffy sleeves is Princess Diana influenced. People just bought what was in the shops at the time. Trends were a lot more gradual compared to today. Do you think the internet has effected how often we buy new clothes? If so, how? Yes the internet has definitely affected how we buy clothes! you type in ‘blue jumper’ for instance and hundreds of options come up! fashion is so easily accessed now, I think that’s why young women today own so many different styles.
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The 00’s Rachel Elliott About how often do you buy new clothes? I buy at least 1 item every couple of weeks and a new outfit every couple of months. What percentage of your wardrobe do you wear often? 70% Do you follow trends? Or is it more important for you to be unique in what you wear? I do try to follow trends to some extent but I tend to buy clothes that I think will suit me and are easy to wear. Being unique is not particularly important! When you buy clothes do you look for quality or value for money? If I want to buy clothes that I want to last a while e.g. jeans or a jumper I would look for quality and be prepared to spend a bit extra, but if I am looking for an item which is likely to go out of fashion next season I would look for value for money. When things go out of fashion what do you do with them? Donate them to a charity shop or try to sell them on Ebay. Do you think the internet has affected how often we buy new clothes? If so, how? Yes, the internet has made shopping more accessible. I often browse internet sites at home when I am watching the TV and often buy items online that I don’t particularly need! It removes the stress of queuing and allows you to shop in your own time.
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Acknowledgements
I would like to offer my special thanks to the team of staff in the Fashion department at Sheffield Hallam University for their support and guidance. I also wish to acknowledge the help and support provided by my friends and family, especially my mum who has played the part of fashion intern, counciller and financial advisor over the past four years!
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