Here’s something I haven’t seen before: Not “retro,” not “revival,” not “the ’70’s are back, or the 90’s are back” but “The ’70’s as seen by the 90’s” (or something like that.) In other words, if you needed further proof that the whole thing is disappearing into ever increasing circles inside itself…. look no further.
Link: Disco 2015: Pulp’s charity-shop chic is back | Fashion | The Guardian.
This is very interesting. The Korean government put a lot of support behind the use and publicizing of the hanbok after the Korean economic collapse in 1997. The Icelandic government supported the groundswell of interest in national dress a few years later. Then after the economic collapse in Iceland a grassroots increase of its own appeared.
Now Korea seems to be running out of steam. Is this not sustainable without official support?
(I’m not saying that the Icelandic and the Korean shifts are in any way related or for the same reasons, b.t.w. Just the timeframe… Let’s see where Iceland is in 4-5 years?)
Seems in fact that the Korean hanbok is now shifting into a similar cultural space as that occupied by any of the five Icelandic costumes:
“‘Young couples today in Korea are not having as many children, so when they all get together for traditional holidays, those gatherings are very small,” Kim says. “They don’t try to keep their traditions strictly by wearing hanbok.’
Kim adds that the cost of the custom-made outfits, which can run as high as several thousand dollars, has forced many families to scale back from making annual hanbok purchases.”
Here’s an interesting take on the fashion world:
“Fashion and art (and music, for that matter) have become do-over cultures, with designers and painters alike recycling the past (near, distant, and points in between) at such speeds it’s hard to keep up.”
This should be required reading, and I would have made it so, if it had appeared a couple of weeks ago. Touches on –and illuminates– a number of the concepts and topics we’ve been examining: Aura, nearness, authenticity, “the now” “the here” and on and on.
I’m heavily recommending this and would love to see comments and thoughts.
The annual Costume Institute’s Gala at the Metropolitan Museum of Art is notorious for implying a strict, themed dress code for all of its exclusive attendees. This year was a little different, however, for the men attending the gala were not asked to adorn themselves in their typical Black Tie attire–they were, instead, asked to channel some first-half-of-the-century nostalgia with classic White Tie, Charles James-esque ensembles. Though sometimes prevalent for certain events in the UK, it is not very common for men to dress in White Tie attire in the US, making it difficult, yet fun for the male attendees to be able to dress outside the norm for once. White Tie is a timeless and tasteful form of dress, and those men attending the party were given the opportunity to mix up their usual evening wear, instead wearing tailcoats and adorning canes and top hats. This important, stylish event could foreshadow new trends in menswear, and even womenswear fashions for upcoming seasons.
The Met Gala, fashion’s best-dressed night of the year, took place last night at the Metropolitan Museum of Art in Manhattan, to kick off its newest exhibit “Charles James: Beyond Fashion”. The exhibit is opening mainly inside the new Anna Wintour Costume Center, and displays a number of pieces made by the famous fashion-meets-sculpture designer. During his lifetime, James was a celebrated designer, using innovative cuts and construction techniques to highlight various details in his extraordinary works. He believed that his designs should be used in order to teach design techniques, and the exhibit appears to do a great job of emphasizing his unique yet innovative practices. In parts of the exhibit, there are even “animations of how the fabrics were manipulated to come together in one piece . . .” which ” . . . add[s] to the experience” of the designs and the exhibit as a whole. James himself would be proud of this display, for it tells his whole life story, while highlighting his attention to every little detail in design. The exhibit is open to the public beginning on Thursday, May 8th, and will run through August 10th, and is sure to inspire various forgotten designs and details for upcoming seasons in fashion.
With NYFW in full swing, highlighted designer, David Hart channels the “Twilight Zone” TV Show as inspiration. With video included, Hart discusses his jumping point in developing tweeds and different fabric that “represent television static,” which embody the TV Show. This article relates to our discussion and readings in class today about how a TV Show and their costume can have such a great influence on fashion and the Zeitgeist of the time. Hart also talks about his inspiration coming from the 1950s and 1960s, referring to old family photographs, mainly of his grandfather and how he put together clothes. With this exclusive look into Hart’s collection, this article focuses on the shoes and Hart’s collaboration with American shoemakers at Walk-Over for the perfect patent leather shine.