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28/03/2018

This Stylist and Archivist Wants to Show You What the Real Fashion of the 1980s Looked Like

This much was unequivocally true of the Fall 2018 runway shows: The awesomely big, shoulder-padded extravagance of the 1980s is back. It’s a fashion era that has bobbed in and out of the collective conscious over the years, but now, the ’80s are really in ascendance: superpower suits at Marc Jacobs! Beverly Hills trophy wives at Tom Ford! Glam plaid at Versace! But there is one fashion collector who happens to disagree, at least in part, with all of the chatter surrounding the resurgence of Dynasty style. Ruth Kramer is a stylist and designer based between Frankfurt and Paris who has been collecting rare items by the likes of Thierry Mugler, Claude Montana, and Jean Paul Gaultier since the late 1970s. She has no formal background in fashion, other than a passion for unearthing rare vintage clothing, building her archive (which currently boasts over 100 pieces), and designing her own one-off avant-garde wares. Kramer knows the masters of 1980s fashion better than most outside of the inner circle of industry heavyweights, having attended her first Mugler show in 1978 and spent countless hours visiting the ateliers of Montana, Gaultier, Martin Margiela, and more in the years that followed. She knows the ’80s, and she doesn’t necessarily understand what all of the fuss is about.

“When you look at Marc Jacobs’s collection for example, I see the 1930s and the 1920s, not the 1980s” she explains. “At Marc Jacobs or Junya Watanabe, the silhouettes are much looser than those that were popular in the 1980s. The baggy cuts are more indicative of the 1920s and 1930s, not the 1980s where the waists were always tight. The use of layering nods to the 1920s and 1930s, as well. This I saw some of at Tom Ford, in the ruffled dresses, big sweaters, and heavy outerwear over the metallic and animal-print leggings.” She adds, “I think people are jumping too quickly to call this moment a comeback for 1980s fashion trends alone. There are finer details, like the loose cuts and layering, that really come from an earlier time period.” Kramer believes that the industry’s eyes are focused on the era of spandex and side ponytails almost subconsciously, due to the political and social tumult we are currently reliving today, especially in New York. “The shows in New York were a bit more outwardly ’80s than London and Paris and Milan,” she says. “This makes sense when you look at what’s going on in America right now.”

Truth be told, Kramer has never really been all that interested in keeping up with seasonal trends anyway, which is why she’s remained a loyal fan of houses like Comme des Garçons, Kansai Yamamoto, and Junya Watanabe. “The Japanese designers never care about trends, and especially not the 1980s,” she says. “They may start with something like a men’s pin-striped suit from that era but then they are able to completely distress it and take it apart, turn it into something that we’ve never seen before.” Kramer adds, “Being around people like this in fashion, and spending decades sourcing vintage, that’s how I got my education in fashion.” It’s true she isn’t a scholar or editor or trained fashion designer, but perhaps Kramer’s opinion is one we should pay attention to. After all, she lives with the fashion that defined the 1980s—the cinched waist of Mugler’s jackets, Watanabe’s fanny pack, and the sculpted shoulders so associated with Montana. In Kramer’s words, “every designer is constantly hunting for new ideas, but we have to remember that it’s all been done before. It should always be about the designer taking bits and pieces from the past, from various decades and not just one, mixing them together to blend the old with the new so that their clothes don’t look like they belong to any time period in particular—except maybe one that can exist in the future.”Read more at:pink prom dresses uk | prom dresses uk

 

08:35 Publié dans Fashion | Lien permanent | Commentaires (0)

21/03/2018

Waste not, want not

Zero waste is a philosophy that asks us to reconsider the life-cycle of our products so they can be reused.

The movement encourages consumers to evaluate purchases so as to reject waste from their everyday lives.

The overarching goal of a zero-waste lifestyle is to help contribute to the elimination of harmful waste to our land, water and air which threatens our health, as well as that of animals and plants.

Zero waste promotes living a more simple life and takes a stance against needless, consumerism-driven waste; it is about rethinking the everyday.

Textile waste and pollution is a global and growing concern for fashion.

Today I consider zero-waste approaches to pre-consumer and post-consumer waste in the fashion industry and chat with local designer Eilish Lie-Olesen about the little steps she takes towards zero-waste with her label, Eilish and Co.

Pre-consumer zero waste

To lessen textiles waste, we must consider the design and manufacturing processes that take place before purchasing fashion products.

Pre-consumer zero waste involves the waste that occurs before the fashion product meets the consumer, including fabric offcuts created during the cutting process. It has two main approaches: Zero-waste fashion design, and zero-waste manufacture.

In the process of zero-waste fashion design, the designer creates a garment with a focus on pattern-cutting. This differs from typical garment production.

Traditionally, designers will have a drawn or draped design of the final garment from which a pattern is made. Using this pattern, a lay plan is created to figure out how to best arrange the pattern pieces to fit the fabric which reduces but doesn't eliminate waste. The offcuts of the fabric are then put aside for zero-waste manufacture, or discarded as textile waste, contributing to the problem of textile pollution in the industry.

In contrast, zero-waste fashion designers create a pattern that fits within the space of the fabric they're using, which ultimately determines the design.

Through this process, there are no offcuts as the designer has used all the fabric, therefore there is zero waste involved.

Zero-waste manufacture focuses on eliminating textile waste without modifying garment patterns. This is approached in many ways.

Textile practices such as knitting and weaving can incorporate zero-waste manufacture through the making of fabric.

Indian designer Siddhartha Upadhyaya created ''DPOL'', or ''Direct Pattern on Loom,'' an innovative digital technology for weaving fabric in the shape of garment pieces with finished edges. As nothing is cut, these practices ultimately eliminate all waste.

Similarly Auckland-based contemporary weaver Christopher Duncan, who weaves specific shapes that then come together to create a garment, removing the cutting process.

Zero-waste manufacture is also achieved through whole garment knitting. This is knitwear that is produced on a knitting machine, creating one entire three dimensional piece.

More generally, zero-waste manufacture is achieved by reusing the offcuts of fabric used for garments to create other products.

Post-consumer zero waste

Post-consumer waste is the waste produced by the end consumer. It occurs at the end of a garment's life when it typically ends up in landfill.

Post-consumer zero waste is a design approach that utilises textile waste to produce new fashion products. American designer, ''Zero-waste Daniel'', is a young, emerging designer making waves in the industry. With innovative pattern making techniques, tiled mosaic designs and specialty textiles, Daniel Silverstein is a pioneer in zero-waste fashion, taking literal textile waste and creating fresh, contemporary fashion products.

Recovering waste that is produced post-consumer can occur through the reusing, repurposing, upcycling and reselling of fashion products.

Basically, it is important to carry on the life of a garment as long as possible before recycling or discarding. A garment's life should be long and purposeful.

To prolong the life of your garments, take care and correctly launder. Make good use of your existing closet, mending and altering pieces when needed.

If you no longer use a product, consider where it could go next: host a clothes swap, sell locally or online, donate, or gift. I

When you feel your garment can no longer be of use, find a suitable new purpose through repurposing, or add value through upcycling. Buy second-hand or vintage to continue the story of other people's clothing.

A little step is bigger than none

Local fashion designer Eilish Lie-Olesen incorporates zero waste into her work in order to take a more holistic approach to fashion.

Her Dunedin-based label, Eilish & Co, values the individuality of women, and is driven by both inclusivity of the diversity of women and ethical practice. Eilish and Co is one of the few New Zealand-based labels leading the way for inclusivity in the industry.

Lie-Olesen is torn between a love of fashion, and an awareness of the ethical concerns surrounding the industry. Ultimately, she chose for these ethical concerns to drive her practice, rather than detour it, selling a balance of new designs, zero-waste accessories and vintage clothing.

''Definitely a bit of guilt for being part of such a toxic industry. I have quite a love/hate relationship with fashion - I love to create garments that are inclusive and help people to express who they are but I really dislike how wasteful and unethical the industry can be.''

While she practices elements of zero-waste manufacture, Lie-Olesen is interested in upskilling to incorporate zero-waste design into her practice. She sees zero waste as a journey, taking small steps towards more ethical practices.

''I wanted to reduce my waste from the cutting process and, although I'm not the flashiest at pattern-making, making little scrunchies and even a couple of bucket hats from the scraps was a good way to cut down and becoming completely zero-waste is definitely a goal for future - small steps, you know? A little step is bigger than none,'' Lie-Olesen says.

Alongside her own designs, Lie-Olesen sells a curation of vintage pieces that align with her label's aesthetic.

''I've always had a soft spot for vintage, especially the thrill of the hunt aspect of it, and how you can give something a new lease on life - especially the really old, heirloom pieces.''

In attempt to recover textiles waste, Lie-Olesen values and shares the stories and quality that vintage fashion holds.

''They have such a story to tell and sometimes I wish the garments could talk because a couple of the ones in my shop have seen the turn of the 20th century, survived the wars, and been passed down generations. Not to mention the quality and attention to detail; it's honestly something else and very rare to find in the age of fast fashion.''

Zero-waste design and manufacture at times requires more thought, conversation and skill than conventional fashion design and manufacturing processes.

It is because of this that the small steps taken by our both our New Zealand fashion designers and consumers are well worth supporting and celebrating.Read more at:graduation gowns | prom dresses uk

 

07:07 Publié dans Fashion | Lien permanent | Commentaires (0)

15/03/2018

A uniform for intellectuals

‘Ireally don’t sell clothes, I sell a way of living.” No, these aren’t the words of fashion’s current tastemakers, the likes of outgoing Céline designer Phoebe Philo or, say, Gucci’s alchemist Alessandro Michele. Actually, they were spoken way back in 1963 by Armi Ratia, the founder of Marimekko. The Finnish design house has been brightening up ways of living with bold artistic prints since 1951, when Ratia transformed her husband’s oilcloth company into one producing cheerful, bold but elegant printed designs.

These days, Marimekko is the stuff of tea towels, crockery and bed linen. The bold Unikko flower print and crooked circles of Kivet cover cushions in houses also partial to the chairs of fellow Finn Alvar Aalto or Mies van der Rohe, providing the hand-drawn charm to offset the clean lines. But it began, as Ratia’s soundbite suggests, as an aesthetic to take in all aspects of customers’ lives. It spoke to a growing class of working women with a finely honed taste in design, looking for some colour in a post-war world. Ratia was certainly one of those and had Insta-perfect quotes way before the digital age. “One has to dream,” she said. “And one must stand out from the rest.”

The fashion part of the Marimekko universe is now poised for a comeback. Junya Watanabe collaborated with the brand for his spring/summer collection, using a monochrome Noppa print from 1954 and – in more affordable fashion news – the prints can currently be found on Clinique lipsticks and will soon form part of a collection with Uniqlo, to be released on 29 March. Using six different prints, they romp brightly across T-shirts, dresses, bags and shoes. Everything is under £35 and most items come with a heartwarming story. The Polle abstracted polka dots are inspired by the “hoof prints left by a plump small pony”, while the winningly named Kukkia Rakkaalle has the flowers “to tell you how to surprise your loved one”.

While that might be too saccharine for some, Marimekko’s fashion history gives it pedigree with women of substance. Designed, against the wasp-waisted feminine ideal of the 50s, to fit loosely, 60s designer Annika Rimala believed “clothes needed to be designed so that it was possible to move freely in them – to run, jump, and sit”. Those striding forth were drawn to the designs. Jane Jacobs, Georgia O’Keeffe and Jackie Kennedy wore their dresses – Kennedy apparently bought seven at once, and wore one on the front of a magazine cover in 1960.

By that time, the Finnish company was branching out farther into Scandinavia and to new territories, including the US, and gaining cult appeal among a powerful – if niche – demographic, such as O’Keeffe and Jacobs. In 1963, Eugenia Shepherd, fashion critic for the New York Herald Tribune, described the label as “a uniform for intellectuals … Marimekko is for women whose way of wearing clothes is to forget what they have on”. Jacobs wore hers on protests. O’Keeffe wore hers in the studio. They were clothes that let you get on with life and allow you to be your best self. And guess what? Fifty-five years later, it’s an idea that still sounds pleasingly progressive.Read more at:red carpet dresses | prom dresses london

04:29 Publié dans Fashion | Lien permanent | Commentaires (0)