Andy Warhol Essay by Sophie Ottewell

ANDY WARHOL & HIS INFLUENCE ON FASHION! BY SOPHIE OTTEWELL

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"ART IS WHAT YOU CAN GET AWAY WITH." (WARHOL, N.D.)

4 VISUAL LANDSCAPE

WHAT IS VISUAL LANSCAPE? Today we live in a visually

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intoxicated world. Every day the human eye is exposed to thousands of separate images which strive to get us to think, buy, wonder and feel. As controlled as these images can be, every individualâ&#x20AC;&#x2122;s interpretation will be different. Berger recognises the ability for individuals to make assumptions based on objects of visual significance. (Berger, 1973) We are able to receive images through magazines, advertisements, social media, television â&#x20AC;&#x201C; the list can become extensive. Our world has become so visually orientated that we now require these images to create meaning. Without them, businesses would lack ability to communicate themselves to consum-

ers, fashion would lose the ability to represent style and a personality and ultimately the world would be a very dull and monotonous place. Visual landscape is important as it helps us to define, whether that definition be of brands, style, movements, or even ourselves.

SEEING COMES BEFORE WORDS. THE CHILD LOOKS AND RECOGNISES BEFORE IT CAN SPEAK. BUT THERE IS ALSO ANOTHER SENSE IN WHICH SEEING COMES BEFORE WORDS. IT IS SEEING WHICH ESTABLISHES OUR PLACE IN THE SURROUNDING WORLD; WE EXPLAIN THAT WORLD WITHIN WORDS, BUT WORDS CAN NEVER UNDO THE FACT THAT WE ARE SURROUNDED BY IT. THE RELATION BETWEEN WHAT WE SEE AND WHAT WE KNOW IS NEVER SETTLED.

(BERGER, 1973)

6 ANDY WARHOL

Y D N A L O H WAR ecent years have seen Social Media harness the power of celebrities and take control over individual’s everyday lives, but what exactly is it that influenced the celebrity and image obsessed world we live in today? From his rise to fame in the 1950’s, through wide celebration of the symbols of popular and consumerist culture, Andy Warhol created a revolutionary cultural shift in the way Art was fashioned and enjoyed. It can be said that Andy was the initial creator of the mass media we can experience today,

with the famous mentioned quote striking great likeness to the reality of our social media driven world. Andy’s aura is still rife in our society today as he continues to influence the thousands of marketing messages our minds witness every single day. Within this essay, the work of Andy Warhol and the images and media created as a result of his existence will be examined in relation to their impact on the world of Fashion Marketing today.

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"IN THE FUTURE, EVERYONE WILL BE WORLD FAMOUS FOR 15 MINUITES" (WARHOL,N.D.)

“IT’S NOT WHAT YOU ARE THAT COUNTS, AND IT’S WHAT THEY THINK YOU ARE.” (WARHOL,N.D.) FIG

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“EVERYTHING IN YOUR CLOSET SHOULD HAVE AN EXPIRA-

THE SOUPER DRESS

TION DATE ON IT THE WAY MILK AND BREAD AND MAG-

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AZINES AND NEWSPAPERS DO.” (WARHOL AND DOONAN, 2004)

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riginally rising to fame as a result of his creation of his Campbell’s Soup Can design, Andy was one of the first Pop Artist’s to turn his creations into Fashion. Andy’s Souper Dress, which was made out of paper, inspired the idea that Fashion had the possibility to be temporary and could be said to be responsible for the birth and success of ‘fast fashion.’ Initially recreated for the catwalk in 1984 for the Spring/Summer Jean-

Charles de Castelbajac collection, the design is still being recreated today as wearable fashion, inspiring both catwalks and bloggers. So why exactly was the design so influential? By displaying his Soup Can designs side my side Andy aimed to recreate the feel of a supermarket store within his original exhibition. Andy’s design made it apparent at the time the marketing heavy world America was beginning to transcend into. By repeating the same can in different flavours so many different times,

it reflected the repetition of the marketing messages we see every day, and almost could have aimed to display these in a fashionable way – emphasising the idea that consumers were starting to want and expect more from branding and products. By creating a paper dress the ability of fast fashion was highlighted and saw the start of something new and revolutionary within the fashion world.

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.DIORAW13

“BUSINESS SUITS, LIPSTICKS, INSANELY POINTY SHOES, LONGLINE GIRDLES, FLORAL HATS, PEARLS, PERFUME, BROCADE BOOTS – THE WARHOL ILLUSTRATIONS EPITOMIZE SWEET POST-WAR OPTIMISM, ABUNDANCE, AND FUN!” (WARHOL AND DOONAN, 2004)

DIOR AW13 B A

efore the Pop Art creations that rose Warhol to fame, Andy found work as an illustrator for various major fashion publications such as Harper’s Bazaar and Glamour. ndy’s fashion illustrations show a diverse feel to the lively primary coloured pieces he is most renowned for today, and represent the original instant connection Andy had with high fashion. The Dior AW13 show saw garments revealed presenting the illustrations embroidered as features on dresses, skirts and handbags. The production was set within a backdrop of clouds and giant inflatable silver balloons, showing relation to one of Andy’s largest FIG art instillations ever – Silver Clouds.

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he garments featured within the collection breathe a set of elegance that is rarely seen within works related to Warhol. It shows Andy’s ability to connect with the female fashion world and reflects that his inspirations throughout time within fashion have not been accidental. The pale blue and gold themed backdrops add a sense of richness to the images, and enhance the true beauty of Warhol’s drawings in a softer, subtler and more intricate way than we would usually see Warhol’s creations portrayed.

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. SCARLETT & MARILYN

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ndy Warhol turned his efforts towards a new medium – editorial. In 1966 Andy created Interview magazine. The publication is a “Crystal Ball of Pop Culture” (Brant et al., 2004) and aims to elevate the pop professionals of its time. It expands on the controversy Andy Warhol loved to create, from the date of its creation right to the present day. The present day Interview continues to play homage to Andy’s past creations. A Russian version of the publication features actress Scarlett Johannsson, an actress of which who is often compared to the late Marilyn Monroe (Collins, 2014). Scarlett sports the same bold red lip and yellow hair that Marilyn holds on Warhol’s once created screen print portrait. But why would Interview want to recreate this image? It could simply be a new pastiche representation of a classic piece of art work. Or could it be a representation of the lack of personality the celebrities we constantly look up to really hold? Scarlett and Marilyn are comparable for their looks, but no member of the general public hold the close connection that mediums such as social media and television make us believe that we have.

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“A SEX SYMBOL BECOMES A THING. I JUST HATE BEING A THING.” (BIGHAM AND MONEM, 2007)

“THE FLOATING USE OF COLOUR DENOTES THE SUPERFICIALITY OF HER HOLLYWOOD IMAGE, THE mASK THAT CONCEALED HER SADNESS WHICH LED TO HER SUSPECTED SUICIDE.” (BIGHAM AND MONEM, 2007)

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nterview

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KYLIE JENNER

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15 nterview recently raised ethical issues and accusations of ableism when it featured stylized images of Kylie Jenner appearing to be paralysed within a wheelchair. The Kardashians are currently at the forefront of popular culture. By featuring a just turned 18 year old Kylie Jenner on the front of their magazine, in a shoot objectifying woman within a wheelchair, Interview couldn’t get much more controversial and fitting to the Warhol image. Warhol was known for pushing the boundaries and not conforming to social normalities – especially due to the fact the he was openly gay within a time when America was less informed and inviting to the idea of homosexuality. The shoot represents Kylie as a sex doll – especially shown in the image featuring Kylie lay in a wooden box. Presenting Kylie within this Doll like image explores the way she is both objectified by media scrutiny and exploits it to her own personal gain. (Saul, 2015) Kylie with her robotic style pose mixed with a blank facial expression and eyes closed, represents herself as an object of the public. . “The ideologies that

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have defined woman’s nature (what a woman is) and her competencies (what a woman should do) have historically relied on the physical materiality of the female body.” (Reischer and Koo, 2004: 311). The image connotes that Kylie is controlled by the likes of the media and merely seen as nothing but an object of desire. It personifies Kylie as a puppet like creature that will conform to anything that you crave. The wooden box shows likeness to the same style that you would find a Barbie Doll within, a toy that children can make anything they want to be. By representing Kylie in this way, it shows how fabricated her individual image may be and once again, similar to the previous Interview magazine images explored, represents the idea of celebrities showing no real personality or attitudes. The words scribed on the box labelling “FRAGILE” could connote the vulnerability of these celebrities as a result of their constant attention within the media, which was the original inspiration for Andy’s Marilyn portraits as he was intrigued by her supposed suicide.

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GIANNI VERSACE

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GIANNI VERSACE POLAROID BY WARHOL

ndy’s fashion influence not only inspired the mass, but also many individual fashion designers of our time. His work has been reimagined throughout many catwalk shows, and even managed to trickle down to the high street.

ianna Versace being one of the first of many fashion designers to incorporate the Pop Art phenomenon’s work into his designs did so with great impact and vibrancy within his Spring Summer collection in 1991 creating the iconic Marilyn Monroe and James Dean dress which was plastered with the artist’s famous prints. The dress appeared in the same collection as the also famous Vogue dresses, creating a collection which, much like the aura of Pop Art, celebrated the mass and popular culture of that time, and even of today. The look book image featuring the Marilyn dress is powerful in conveying a feminist image. The iconic movie star Marilyn Monroe shown to be strewn across the body of successful and highly publicised model of the time Linda Evangelista merges icons of popular culture, bringing Versace’s creations

and their connotations to life. 1991 saw Linda Evangelista causing sparks in the press as she debuted her new short and Avant Garde haircut in which caused her to lose out on a lot of runway show contracts. Linda is seen sporting her new crop, conveying a sense of rebellion within the image reflecting the idea of not playing to the normalities of society, something which Andy Warhol also reflected when he pushed the boundaries of Art within his Campbell’s soup can designs. The models stance within the image only highlights this further, her hands stood firmly on her hip as an assentation of her beliefs, and her other arm thrown out in a carefree motion connoting a light-hearted nature. The feminist image is represented in the sense that James Dean, also a popular movie icon, is seen to be shown within a small minority of the dress. The repetition of Marilyn’s face and the scale of Linda Evangelista’s body on the look book image shows females the dominant feature within this collection.

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prada

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S13 and SS14 were crucial years for Prada in terms of their relation to Andy Warhol. In SS13 Prada used Warhol’s flower prints as the feature of their collection. The floral pieces heralded a 60s feel mixed with a sense of Japonsime. Prada used their own classic spin to recreate Andy’s designs in a modern way that reflected a dream like nature. Campaign images used plain bold backdrops and models with pale skin and natural makeup, drawing attention to the retro feel of the designs, ensuring they were at the forefront of the campaign. Within SS14 Prada’s designs were not directly related to the creations of Warhol, but instead held a theme of bright colours and bold portrait images, holding similarities to Warhol style images. The campaign images display a high school class portrait style image assorted with an a-list model line-up. By playing on the themes of parody and nostalgia, Prada created a campaign that embodied the Warhol style both symbolically and metaphorically.

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“JEREMY SCOTT IS FASHION’S EQUIVALENT OF ANDY WARHOL. HE LIKES TO EMBRACE THE GARISH BANALITY OF AMERICAN CULTURE AND ELEVATE IT TO AN ART FORM. HIS LOVE FOR BOLD COLOURS, OUTLANDISH PRINTS AND PLAIN OLD KITSCH IS SO AUTHENTIC AND HEARTFELT ONE CANNOT HELP BUT SURRENDER.” (FLACCAVENTO, 2014)

JEREMY SCOTT 32. & MOSCHINO FIG

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randed by Vogue as “the goto label for girls who love to shock” (Pike, 2015) fashion brand Moschino embodies the same fun, logo obsessed nature that Warhol brought to life back in the 1950’s. From nostalgic Loony Tunes celebrations to the stylisation of the classic McDonald’s uniform, Jeremy Scott is a designer that aims to create something different, very much so like the late Andy Warhol. Andy and Jeremy’s work can be likened in their constant use of well-known brands and products and their assumptions to drive attention to their work.

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“SOMEHOW WE CAN’T PICTURE EVANGELISTA, WHO ONCE FAMOUSLY SAID THAT SHE “DOESN’T GET OUT OF BED FOR LESS THAN $10,000” EATING AT MCDONALDS.” (BRUNKER, 2014) FIG 43. FIG 42.

ndy’s work relied on the idea that well known branding sparks interest for consumers and consequently triggers a feeling of desire. The same tactic Jeremy Scott played on when he decided to create fashion out of the fast food chain McDonald’s brand and their uniforms. Happy Meals were transformed into shoulder bags and the famous colours of yellow and red were vibrant within the catwalk collection. Controversy is a word that constantly seems to creep up when speaking about Warhol or people inspired by his work, but yet again this is what the codification of the McDonalds collection created. By making fast food into fast fashion, Moschino glamourized the idea of McDonald’s and its competitors which within America, a country who faces a constant debate over fast food chains contributing to obesity, was a bold move. The collection may have glamorised the idea of fast food however the contrast to this with the size of the models on the catwalk wearing the garments sparks interest. It is probable that these models endorsing the McDonalds brand rarely take regular stops to their nearest restaurant. Models are constantly under scrutiny to stay at a required shape within the fashion industry today, so constantly indulging in McDonalds is very much seen as anti-fashion, consequently making the Moschino McDonalds collection a direct parody to the McDonalds restaurants that we all know and love. Consumers buying into the collection represents the power that branding and businesses have over consumers today, something that Andy constantly reflected within his work. Being a fan of McDonalds but also representing the ideals of a model are two subjects which show to be on opposite sides of the spectrum and therefore it is very rare to see these two be reflected hand in hand. The advertisement campaign images were very different to the clashing and vibrant collection seen on the catwalk. The black and white image featured shows a likeness to a historic image of movie star Audrey Hepburn as she starred in the film Break-

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44. fast at Tiffany’s. Within the film, Audrey conveyed a classy and demure image – connotations that are unlikely to be associated with McDonalds, consequently creating a sense of juxtaposition within the campaign. Whilst taking away the signifying colours of the McDonalds brand, the logo interpretation stays prominent within the campaign, and consumers are still able to distinguish what the collection is all about – fast food. This shows the power that a logo and brand can have on consumers even when they have

been altered, something in which Andy Warhol was able to show through his different use of colours within Pop Art. No matter what colours he chose to use within his work, the brand and icons which stood at the forefront of his creations were still instantly recognisable. The campaign almost shows the effect that Warhol was able to create in reverse, whilst also showing likeness to the Polaroid images that Andy used to indulge in taking of both himself and others.

BARBIE

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ne of Jeremy’s best known catwalk collections celebrates the same materialistic icon of popular culture which also caused inspiration for Warhol – Barbie. Barbie is a perfect fit for both the Moschino and Warhol brand image as she is not only represented as a celebrity of culture, but also as a commodity in that much like a Campbell’s Soup can, anybody can own a Barbie Doll. SS15 was a central year for Moschino as their Barbie inspired collection caused waves on social media as it displayed itself as a pastiche representation of the Barbie brand. The nostalgia created from the show caused shockwaves and soon the collection was worn by many high status celebrities and bloggers and was inspiring fashion photographers around the globe. The success of the collection not only spoke for girls that once heralded every Barbie

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"BARBIE IS THE PERFECT SYMBOL OF GLAMOUR, FUN, SUPERFICIALITY AND CONSUMERISM." (MOORE,2015)

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Andy Warhol was known to be open about his sexuality as a gay man even within a time that it was not approved of. The Barbie advertisement, rather than creating the controversy that was usually intended by both Andy and Jeremy instead represented how far society has become since that time. Many self-portraits that Andy created featured himself dressed up as a drag queen. Andy was not only a pioneer of a style of art but he also formed part of inspiring the idea of the ability to speak out about sexuality and gender normalities.

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Doll imaginable in their toy box, but also to the boys. The Moschino Barbie doll saw the first ever boy to be featured within a Barbie ad campaign, as a little boy who represents Jeremy’s younger self is seen playing with the doll and branding it “so fierce.” (Adorable boy with Mohawk stars in new commercial for Moschino Barbie, 2015) The featured image was posted on the Moschino Instagram account after the launch. For Barbie, this was a ground breaking video and fought back at the constant criticism that Mattel has faced over the years by creating a gender neutral advertisement.

ANDY WARHOL

CONCLUSION . 26

N O I S U L C CON W hether directly or subconsciously, there is no doubt that the existence of

Andy Warhol has a major influence on the fashion that we live and breathe today. Whether through his early prediction of social media, obsession with consumer and celebrity culture or the art phenomenon he created, almost every relevant designer or pioneer of fashion of today has been influenced in one way or another. This essay is just a snippet of the effect Andy had on the world of Fashion Marketing and the influence that continues to live on today.

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ANDHYOL WAR

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ILLUSTRATIONS

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30.

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32.

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ILLUSTRATIONS hUKEwi0vPHRuKzLAhWL6xoKHW-DAtgQjxwIAw&url=http%3A%2F%2Fwww.marieclaire.co.uk%2Fnews%2Ffashion%2F548607%2Fmoschino-aw15-looney-tunes-collection-and-show-images.html&psig=AFQjCNH9pQUi7cAjmf8ghbwk3IrMt6172Q&ust=1457366817945750 [Accessed 6 Mar. 2016]. 36.

Just Jared, (2015). Moschino Fresh. [image] Available at: http://www.justjared.com/photo-gallery/3470923/bella-hadid-windex-moschino-show-milan-fash-

ion-week-05/ [Accessed 6 Mar. 2016]. 37.

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way-show-photos/ [Accessed 6 Mar. 2016]. 38.

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