Fashion Design, Referenced: A Visual Guide to the History, Language, and Practice of Fashion PDF
Preview Fashion Design, Referenced: A Visual Guide to the History, Language, and Practice of Fashion
A Visual Guide to the History, Language, & Practice of Fashion FASHION DESIGN, REFERENCED 001-416_29436.indd 1 10/26/12 1:05 PM 001-416_29436.indd 1 10/26/12 1:00 PM (Fogra 39)Job:10-29436 Title:RP-Fashion Design Referenced (Text) (Ray) #175 Dtp:225 Page:1 FASHION DESIGN, REFERENCED 001-401_C68265.indd 2 11/9/12 5:02 PM 001-416_29436.indd 2 10/26/12 1:00 PM (Fogra 39)Job:10-29436 Title:RP-Fashion Design Referenced (Ray) 1 1 - C 6 8 2 6 5 #175 Dtp:225 Page:2 A Visual Guide to the History, Language, & Practice of Fashion FASHION DESIGN, REFERENCED Alicia Kennedy & Emily Banis Stoehrer with Jay Calderin 001-416_29436.indd 3 10/26/12 1:05 PM 001-416_29436.indd 3 10/26/12 2:16 PM (Fogra 39)Job:10-29436 Title:RP-Fashion Design Referenced (Text) (Ray) #175 Dtp:225 Page:3 001-416_29436.indd 5 10/26/12 1:05 PM 001-416_29436.indd 5 10/26/12 1:00 PM (Fogra 39)Job:10-29436 Title:RP-Fashion Design Referenced (Ray) #175 Dtp:225 Page:5 8 10 About This Book Defining Fashion 14 12 Illustrated Timeline 214 Fundamentals Dissemination 36 90 112 216 The System Centers Styles Presentation 196 128 286 Life of a Garment Principles Practice 130 172 186 198 288 Design Construction Production Evolution Icons 001-416_29436.indd 6 10/26/12 1:05 PM 001-416_29436.indd 6 10/26/12 1:00 PM (Fogra 39)Job:10-29436 Title:RP-Fashion Design Referenced (Text) (Ray) #175 Dtp:225 Page:6 14 276 Illustrated Timeline 214 Fashion / Art Dissemination 216 228 264 278 Presentation Media Market Tastemakers 402 196 286 Future of Fashion Life of a Garment Practice 198 288 350 Evolution Icons Artisans & Innovators 404 406 Recommended Reading Index 001-416_29436.indd 7 10/26/12 1:06 PM 001-401_C68265.indd 7 11/8/12 7:22 PM (Fogra 39)Job:10-29436 Title:RP-Fashion Design Referenced (Text) (Ray) 1 1 - C 6 8 2 6 5 #175 Dtp:225 Page:7 8 About This Book In 2006 Hussein Chalayan, working with tech innovators 2D:3D, encap- Acknowledgments sulated eleven decades of fashion in a suite of breathtaking animatronic Like any endeavor in fashion, this book evolved as a team efort. Alicia dresses that morphed from one era into another. Our cover splices and Emily researched and developed material; Alicia wrote Fundamen- together two moments in one such evolution (from Dior to Rabanne) tals, Principles, and Practice, while Jay contributed much of Dissemi- and is meant to evoke fashion’s constant referencing and transforma- nation. We had many conversations and, along the way, we had the tion of its history and aesthetic language while looking into the future. support of many friends and colleagues. Our book approaches fashion design from the perspective of connec- Thanks, above all, to Michael Guran, who housed and fed us and lent us tivity. It unfolds how fashion is imagined, produced, and disseminated his expert eye and skilled hand. within larger social, economic, and cultural systems. We have avoided traditional chapters in favor of entries that can be read individually or At Rockport, Winnie Prentiss believed in the project from the start and as part of an entire cycle. To borrow a metaphor from another disci- we are deeply grateful for her continued support. Betsy Gammons, as pline, we ofer this volume as a kind of tasting menu, our suggestions always, ofered a calm presence amid the storm of details and deadlines. for a progression of morsels to help the reader cultivate an informed and discerning palette. Long-time collaborator Chris Grimley, together with Jonathan Hanahan, realized the vision for this book with grace. Aiding them were three other We must note a few limitations: Fashion design today continues to be members of the over,under family, Kyle Jonasen, Danielle LaFountaine, dominated by its Western roots and by a focus on women’s clothing, and Kelly Smith. which our book refects. Moreover, some designers whose work we value appear here only briefy or not at all, simply because we could not Celine Larkin contributed the wonderful suite of stitches. Charles afordably source the images. Neumann began our timeline and Lynn Blake so ably stepped in to complete the history. Given fashion’s relentless pace and the speed at which information is now transmitted, predicting its future has become exponentially harder. Lisa Kessler gave us portraits and photographic advice. For generously Nonetheless, it is our hope that both students of fashion and connois- sharing images, we would like to thank designers Fukoko Ando, Lynne seurs of design will fnd in these pages a path through the complexity Bruning, Natalie Chanin, Diana Eng, Carla Fernández, Marie Galvin, of the industry’s operations to the substance behind the style, and Katiti Kironde, Carlos Mansilla, Maggie Orth, and Nara Paz; photog- along the way, discover the extraordinary practitioners who have fash- raphers Tracy Aiguier, Claire Zellar Barclay, Joel Benjamin, and Andie ioned the changing perceptions of the world out of thread and cloth. Guran; Philippa Katz of Barleycorn Antique Prints, Jeanie Quirk of Sudbury Antique Exchange, Marilyn Negip of Brennan Library at Lasell Alicia Kennedy College, Charles Cross and Alfred Fiandaca, Kim Pashko, and an anony- mous collector. Our appreciation, as well, to Cora Hawks at Rockport, Moira Hefernan at Getty Images, and Lyndsay Black at frstVIEW. Our thanks to Teresa Calabro, Katie Ernest, and Hilary Ritter, for pitch- ing in early in the process, and to Betty Ahearn, Laird Borrelli, Julian Clark, Fred Dennis, Robert Frye, James Hannon, Henry Horenstein, Cynthia Kozdeba, Mark Stoehrer, and Trisha Wilson-Nguyen for kind- nesses along the way. In memory of Alicia McGrory Kennedy Struble, for frst lessons 001-416_29436.indd 8 10/26/12 1:06 PM 001-401_C68265.indd 8 11/9/12 5:01 PM (Fogra 39)Job:10-29436 Title:RP-Fashion Design Referenced (Text) (Ray) 1 1 - C 6 8 2 6 5 #175 Dtp:225 Page:8 9 Acknowledgments Like any endeavor in fashion, this book evolved as a team efort. Alicia and Emily researched and developed material; Alicia wrote Fundamen- tals, Principles, and Practice, while Jay contributed much of Dissemi- nation. We had many conversations and, along the way, we had the support of many friends and colleagues. Thanks, above all, to Michael Guran, who housed and fed us and lent us his expert eye and skilled hand. At Rockport, Winnie Prentiss believed in the project from the start and we are deeply grateful for her continued support. Betsy Gammons, as always, ofered a calm presence amid the storm of details and deadlines. Long-time collaborator Chris Grimley, together with Jonathan Hanahan, realized the vision for this book with grace. Aiding them were three other members of the over,under family, Kyle Jonasen, Danielle LaFountaine, and Kelly Smith. Celine Larkin contributed the wonderful suite of stitches. Charles Neumann began our timeline and Lynn Blake so ably stepped in to complete the history. Lisa Kessler gave us portraits and photographic advice. For generously sharing images, we would like to thank designers Fukoko Ando, Lynne Bruning, Natalie Chanin, Diana Eng, Carla Fernández, Marie Galvin, Katiti Kironde, Carlos Mansilla, Maggie Orth, and Nara Paz; photog- raphers Tracy Aiguier, Claire Zellar Barclay, Joel Benjamin, and Andie Guran; Philippa Katz of Barleycorn Antique Prints, Jeanie Quirk of Sudbury Antique Exchange, Marilyn Negip of Brennan Library at Lasell College, Charles Cross and Alfred Fiandaca, Kim Pashko, and an anony- mous collector. Our appreciation, as well, to Cora Hawks at Rockport, Moira Hefernan at Getty Images, and Lyndsay Black at frstVIEW. Our thanks to Teresa Calabro, Katie Ernest, and Hilary Ritter, for pitch- ing in early in the process, and to Betty Ahearn, Laird Borrelli, Julian Clark, Fred Dennis, Robert Frye, James Hannon, Henry Horenstein, Cynthia Kozdeba, Mark Stoehrer, and Trisha Wilson-Nguyen for kind- nesses along the way. In memory of Alicia McGrory Kennedy Struble, for frst lessons 001-416_29436.indd 9 10/26/12 1:06 PM 001-416_29436.indd 9 10/26/12 1:00 PM (Fogra 39)Job:10-29436 Title:RP-Fashion Design Referenced (Text) (Ray) #175 Dtp:225 Page:9 Fashion eludes easy defnition. Broadly, fashion may be understood as shifting styles of dress—that is, specifc combinations of silhouettes, textiles, colors, Defning Fashion details, and fabrications—embraced by groups of people at a particular time and place. Such styles may be projected by a designer or emerge from the street. Fashion can also be viewed as the entire system of innovation, production, marketing, dissemination, and adoption. Fashion is both a creative endeavor and a product; or, put another way, it is an aesthetic practice that produces useful, and sometimes lucrative, objects. On the one hand, a craft or an art form; on the other, a multibillion dollar worldwide business. Fashion’s reach, of course, goes far beyond the chain of activities that result in objets de la mode. Dating at least to the late Middle Ages with the rise of the city and early capitalism, fashion was redefned in the second half of the nineteenth century with the spread of industrialization and the birth of the modern couturier, and again in the late twentieth century with increasing levels of democratization and globalization. Along this trajectory, fashion has operated as cultural construction, social performance, spectacle, class identifcation, self-expression, and lifestyle articulation. A consumer of history enmeshed in its own time, fashion, like all design, can also be read as an attempt, however feeting, to predict and shape the future. 001-416_29436.indd 10 10/26/12 1:06 PM 001-416_29436.indd 10 10/26/12 1:00 PM (Fogra 39)Job:10-29436 Title:RP-Fashion Design Referenced (Text) (Ray) #175 Dtp:225 Page:10
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