LONDON . NEW YORK . DUBAI . SHANGHAI .

FLORENCE

CELEBR ATING CENTURIES OF DRESS EVOLUTION

London
Fashion Matters Gala, The Savoy
Friday 10 October 2014
New York
Tuxedo Park Autumn Ball
25 October 2014
Dubai
The Art of Dress Exhibition and
The Creative Circle Symposium
A4 Space by Alserkal Avenue
2 4 November 2014
Shanghai
Shanghai Museum of Textiles and
Costume Donghua University
8 November 3 December 2014
Florence
17th Annual IFFTI Conference
Polimoda, Florence
12 16 May 2015
With thanks to James Rees, Anthony
John Sayer, Kenny Leung, Marie
Bruce, Martha Zmpounou and
Johannes Daniel Models, Beth
Donaghy and Harriet Rose at Select.
Max Granger at AMCK. Paige Tyson-
Simmons at LCF Street Casting.
2 3
London College of
Fashion is delighted
to present The Art of
Dress, an exhibition of
clothes, accessories,
costume, writing,
images and multimedia
from students across a
variety of courses.
The intention of the work is to reflect
both the past, and where dress comes
from, as well as to explore the future,
and where it might go. The exhibition
presents the whole story, from the
historical and contextual evidence
gathered by the students in the form
of essays, to their interpretations in
the form of film work as well as their
design vision.
The work has been created to provoke
discussion through investigating
new methods, old silhouettes, new
attitudes, and ancestral voices. The
ceremony of dress and the origins of
much fashion can be directly traced
to the courts of the world, where
fashion and dress were at their most
aspirational. The rituals and manners
of court life are reflected in much
of the evolution of dress, alongside
formal and occasion dress. Over the
centuries observers and admirers
would take up a colour, a detail or
even just the way a sleeve hung as
their way of reflecting their desires.
Professor Frances Corner OBE
Head of London College of Fashion
These inspirations continue to find
their way into all aspects of a modern
wardrobe, even if in the tiniest detail
or the subtlest nuance. Even after
centuries of fashion changes there
are still distinct echoes and threads
passing through contemporary dress.
The azure blue of heraldry is reflected
in the azure blue coat, dress and hat
of the present queen, the fragile
white embroidery of a summer
dress harks back to the tea gowns
of Queen Alexandra, and the stiff
brocade of a Prada coat reminds us
of the court of Henry VIII.
Students have looked at a range
of subjects, influences and ideas
to create dress as an art form,
and to pay homage to the courts
and formalities of yesterday. They
celebrate experimental creativity in
combining the symbols and traditions
of the past with their interpretation of
the dresses of the future.
1

4 5
1

THE POWER
OF BLUE

7
2
The Power of Blue:
from Heraldry to Catwalk
Rebekah Cheng
Blue - the colour of natures vast
oceans, limitless skies and for a time,
an obsession of Picasso. The latter
went through a Blue Period between
1901-1904, producing a series of
monochromatic paintings in shades of
blue and blue-green. Whilst Picasso
may have chosen the palette as a
reflection of his depressed state, Blue
also brings to mind feelings of ultra-
masculinity, success and authority. Its
symbol of power and status - adopted
by royal families everywhere - can be
attributed to its novelty as a colour.
The manufacture of blue dyes began
in Egypt but the recipe for this was
lost in the Middle Ages. Its sheer rarity
and cost to produce gave Blue its
aristocratic associations.
As a heraldic colour, Blue or azure
represents the sapphire jewel, as
well as signifying piety and sincerity.
Perhaps this gives Blue its regal, 1
nature and why for SS15, Aquamarine womenswear by oksana anilionyte
ba (hons) fashion design technology: womenswear
topped the womens Pantone colour photogr aph: james rees
chart (Dusky Blue was first choice
2
for men). Unsurprisingly, the core
womenswear by felipe hiroshi goto
anchoring hue was Classic Blue. ba (hons) fashion design and development
photogr aph: james rees
Nevertheless, whether Cerulean or
Cyan, Blue continues to wow the 3
catwalk and red carpet. blue sculpture dress
isabella cotier
ba (hons) fashion illustr ation
At the 2014 Oscars, Lupita Nyongo
4
stole the show in her sky blue, Grecian
womenswear by harriet oconnor
Prada pleated gown. Different shades ba (hons) fashion design technology: womenswear
photogr aph: orsolya luca
of blue were the colours of choice for
a string of other Hollywood starlets,
like Sandra Bullock, who wore a navy
blue Alexander McQueen gown.
Whatever your opinion of Blue may
be, there is power in this colour. Just
look at Facebook.
3
10
1

DRAMATIC
FLOURISHES

13
Sir Norman Hartnell and
the Royal family wardrobe:
Fashions First Knight
Rebekah Cheng
Infamous for dressing the beau monde
and a favourite amongst the royals,
Sir Norman Hartnell designed with
opulence and adorned his handiwork
with lavish detail. One of his most
celebrated pieces continues to be
the wedding dress of then Princess
Elizabeth in 1947, for her marriage to
Prince Philip embroidered with ten
thousand seed pearls, no less.
Born in 1901 in Streatham, south
west London, Hartnell attended Mill
Hill School followed by Magdalene
College at Cambridge where he
read Modern Languages. Though
he left without a degree, he gained
recognition by designing costumes for
the celebrated Cambridge University
Footlights Dramatic Club. Catching
the eye of the Evening Standard, they
acknowledged him as the British
dress genius of the future.
Despite the attention, Hartnell
struggled to get a job in fashion. With
the help of his family, he opened his
first boutique along Bruton Street in
I despise simplicity.
It is the negation of
all that is beautiful.
- Sir Norman Hartnell
1923. A few years later, he received
his first royal commission from Lady
Alice Montagu-Douglass-Scott, then
fianc of the Kings youngest son, the
Duke of Gloucester. Hartnell designed
her pearl pink satin wedding dress
and crucially, dresses for her young
bridesmaids, Princess Elizabeth and
Margaret. This opened the door to a
distinguished relationship between the
designer and the royal family, right
until his death.
Throughout his career, though
Hartnell gained remarkable media
attention, his credentials as a couture
designer were largely overlooked.
Critics say his relationship with the
House of Windsor restricted his hartnell at work in his london
studio during wartime
creative flair and left him boxed into
irrelevance as fashion changed with
the times. Nevertheless, Hartnells
business continued even after his
passing, with support from Queen
Elizabeth II, the Queen Mother and a
string of unwavering royals.
2
1
Womenswear by Luke Bullen
BA (Hons) Fashion Design Technology: Womenswear
Photogr aph: James Rees
Womenswear by Ruri Watanabe
BA (Hons) Fashion Design Technology: Womenswear
Photogr aph: James Rees
14
 ETERNAL EMBROIDERY:
the craft that spans
the centuries from the
earliest court of dress
through to Elie Saab
Janine Bartels
Dating back to the middle ages,
lavishly embroidered textiles were
commissioned for the royalty and
nobility. Little of the luxurious clothing
has survived from the past, but
the pieces that have withstood the
test of time date back to the 13th
century and onwards. This early
embroidery from England is called
Opus Anglicanum (English work),
and it was produced by professional
embroiderers. Preceding this, amateur
needlewoman had embroidered as
early as the 8th century.
During the peak period of Opus
Anglicanum, it was as coveted as
paintings and goldsmiths works.
Embroidery was not confined to
the elaborate silk and and velvet
garments, but also decorated the
fabric of furnishings. Eventually come
the 15th century, demand exceeded
production and embroiders were
forced to develop work quicker using
easier methods that involved creating
smaller embroidery on separate linens
that were later stitched onto more
luxurious fabrics.
Embroidered Panel Morris and Company
1
The delicate embroidered motifs 1
were not only confined to the British Womenswear by Henriett Juhasz
BA (Hons) Fashion Design Technology: Womenswear
Courts, but China had recognized Photogr aph: Orsolya Luca
embroidery as a symbolized social
status during the Shang Dynasty.
China is recognized for the discovery
of silk, and takes credit for being
the epicenter of where the art of
embroidery originated.
Looking back, people admire the
sense of craftsmanship that appeared
centuries before. However, the craft
of embroidery still exits today and is
a signature of Elie Saab. The Haute
Couture house creates decorative
princess gowns composed of the
finest lace and silk organza, and
tremblante with sequins. Floor length
dresses are adorned with paillettes,
pearls and cabochons gemstones -
one Elie Saab wedding dress with its
exquisite embroidery and fragile tulle
can take up to three months to create
with a whole team of embroiders
manning the looms. The art of the
craft survives.
Wom ans summer robe embroidery detail Elie Sa ab Wedding Dress
Paris Haute Couture Spring-Summer 2012
17
1

TSARINAS &
KOKOCHINKS

19

LA VIEILLE RUSSIES
Stephanie King
A long way from the dress of 19th
and 20th century Tsarinas, womens
fashion today may not resemble that
of Imperial Russia, but its current
designs are certainly not without
strong Eastern European influences.
Whether its a nod to traditional
folkwear or a riff off costumes worn
during Ballets Russes performances,
modern clothing is flourished with
elements from Russias eventful history.
Most notably, the relatively recent
Pre-Fall 09 collection by esteemed
French fashion house Chanel.
The Parisian labels Paris-Moscou
line imagined by Creative Director
Karl Lagerfeld is an homage to
its founder, Coco Chanel and
her affinity for Slavic culture and
Byzantine artefacts. Pearl-and-
diamant-embellished coats, metallic
Cossack boots, fur ushankas and
shapkas, and dresses adorned in
Faberg egg jewel detailing are
examples of Chanels modern
interpretation of Russias heritage.
Fashion giants Dior, John Galliano
and Kenzos similarly themed AW09
collections were equally dripping in
inspiration from Russias royal past,
but they also bear the signature of its
other significant, cultural contribution:
the Ballets Russes.
The designs shown on the Fall
runways of these labels hint at the art
movements of post-Impressionism,
Cubism and Constructivism; concepts
M adeleine Ross-M asson
BA (Hons) Costume for Perfor m ance
Photogr aph: Orsolya Luca
Contour by Basm a M asri
BA (Hons) Fashion Contour
Photogr aph: James Rees
2
for which the Ballets Russes became
renowned for exploring. And in 1909
when Serge Diaghilev first founded
the company, such an approach was
revolutionary. Now, the Ballets Russes
is regarded as the 20th centurys
most innovative dance company,
owing to its unique set designs,
dance and music choreography,
and costumes. Noted artists such as Chanel Paris-Moscou Collection, 2009
Natalia Goncharova, Pablo Picasso,
Henri Matisse and Giorgio de Chirico
designed garments for the Ballets
dancers, with Mademoiselle Coco
herself creating two knitted bathing
suits for the 1924 production, The
Blue Train. Even then, the overlap
between Russian art culture and
fashion was evident.
Presently fashion newcomers Christian
Siriano and Eudon Choi have revisited
traditional Slavic costume in their
AW13 lines, with several high street
labels also adopting the trend. The
rise of street style photography
has encouraged a small group of
Russian editors and oligarchettes to
be dubbed the Russian fashpack.
Their recently acquired fame has John Galliano, fall 2009
helped to remind Western society of
the Eastern European nations creative
value. That, in combination with the
ever-resurfacing Russian theme within
prominent design labels collections,
will continue to inspire the presence
of Eastern European culture within
everyday fashion.
Dancers in Chanel for Le Tr ain Bleu, 1924
20
 RED FOR
A DIVA

23
 Red: Diva drama
from centre stage
Stephanie King
Red is rarely an accident. When a
women wears red her intention is
almost always to draw attention.
The hues shocking tone immediately
captures the eye, and it is this exact
reason why the colour red has
become a significant part of fashion
history. Worn by opera singers for
centuries, donned by Hollywood
starlets from the 1920s, and
sported by todays celebrities on
endless red carpets; the performing
arts and red go hand in hand given
rouges ability to make any garment
(and its wearer) standout.
Three famed examples include
Mary Callas crimson velvet gown in
Puccinis Tosca (1964), Julia Roberts
in her Pretty Woman (1990) scarlet
chiffon dress, or Nicole Kidman in
Balenciagas tomato-tone bow neck
gown at the 2007 Academy Awards.
Each of these ensembles was perfect
for making a grand entrance, not to
mention keeping all eyes on them.
Aside from its initial shock value, red
also has a lasting impact. People no
matter their age will remember the
iconic slippers from The Wizard of Oz
(1939), and recall they were not silver
or gold or blue; they were red. It is
the same with illustrated bombshell
Jessica Rabbits costume in the 1988
film Who Framed Roger Rabbit?, or
real-life sex symbol Marilyn Monroe
in her sequinned Gentlemen Prefer
Blondes (1953) gown: we immediately
know their outfits because of their
bold colour. Equally it is hard to forget
other historic uniforms such as Little
Red Riding Hood and Santa Claus.
Two fashion designers that have
made their own shades of rouge GENTLEMEN PREFER BLONDES (1953)
synonymous with their name are
Valentino Garavani and Christian
Louboutin. The latter French shoe
designer made his coveted footwear
instantly identifiable by their red soles,
where Italian design veteran Valentino
is renowned for his own colour
creation of Valentino red, an intense
scarlet with a hint of crimson. What is
it about the colour red that makes it
such a powerful hue? Fundamentally,
red represents the spectrum of human
feeling from passion and love to
anger and mortality. It evokes such
strong emotional responses, and is
consequently associated with sexuality,
power, happiness and danger.
Over time, red has become more than
a primary colour; its now an emblem.
For whatever reason red may be worn, little red riding hood
one thing is always guaranteed: it will
always draw stares.
Womenswear by Kenji Lau
BA (Hons) Fashion Design Technology: Womenswear
Photogr aph: Catalin Plesa
Womenswear by Kenji Lau
BA (Hons) Fashion Design Technology: Womenswear
Photogr aph: Catalin PlesA
25
1

EXIT
DRAMA

27
EXIT DRAMA: from the bustle
of Worth through to
Schiaparelli to Zac Posen
the exit can be as important
as the entrance
Janine Bartels
As air-kisses cease, voices lower, and
cameras are armed at the ready
the fashion show is about to begin.
Although the audience anticipates the
first model to step onto the runway, it
will be the final model that leaves the
lasting impression.
The first designer to employ a live
model to showcase his latest creations
was no other than Charles Fredrick
Worth. In 1848, the couturier
redesigned uniforms for Maison
Gagelin and paid one of the female
shop assistants, Marie Vernet, to
model for him. He later married
Vernet and opened the House
of Worth in 1858, attracting the
attention of empresses and all the
blue bloods of the time.
Originally, live models were an
important tactic to demonstrate
how the garment is worn. However,
since the early days of Worth a
fashion show has evolved into a fully
fledged form of entertainment. Well
ahead of her time, Elsa Schiaparelli
was turning fashion shows into a
performance, hiring acrobats for her
1938 collection Circus.
There is a considerable amount of
behind-the-scenes production that
happens during a fashion show.
Designers choreograph their runways,
carefully selecting the models,
the music, and the order in which 1
garments appear down the runway. Womenswear by Shabnam Eslambolchi
BA (Hons) Fashion Design Technology: Womenswear
The exit is also as important for each Photogr aph: Orsolya Luca
individual model, as she turns to
2
walk back down the runway, focus is
Womenswear by Kimberly Tham
drawn to the back of the garment. BA (Hons) Fashion Design Technology: Womenswear
Photogr aph: Orsolya Luca
The rear view is not to be
underestimated; it has the ability to
hold gazes, and as the model poses
before exiting it will be the last
chance for a photo opportunity.
For the grand finale, all the models
will come out consecutively,
showcasing the collection as a
whole and triggering the memory
of the audience, reminding them of
first garment that stepped out onto
the stage a mere 15 minutes prior.
However, the models are not the last
to leave the runway, the designer is.
As the creative mastermind behind
the collection bids au revoir to the
elite crowd he/she usually exits with a
customary wave or a bow.
As shows have become more
innovative through location, staging,
and elaborate runways that models
can weave through, the fashion show
has become a performance and every
designer is vying to stand out. Whats
the secret? Its all in the exit.
28
1

HEADPIECES

31

Fashion is a vampiric thing, its the hoover
on your br ain. Thats why I wear the hats, to
keep everyone away from me.
- Isabella Blow
Headpieces: from tiara to turban, even on formal
occasions headwear is often the finishing touch
Rebekah Cheng
Headwear began for practical reasons
- protection against the climate and
on occasion, people - but for the
most part, was affiliated with womanly
decorum. Whilst the social necessity
of wearing a headpiece has since
declined, it is interesting to note how
this accessory has evolved from status
symbol to empowerment piece and
now, works of art.
Take for example, the tiara - worn
as a type of an adornment among
the Royal and noble ranks - which
exemplifies social status and wealth,
especially when lavished with pearl
drops, emeralds and diamonds.
Nevertheless, in popular culture
today the tiara has slightly different
connotations. For instance, the warrior
princess of the Amazons (or Wonder
Woman), uses her tiara as a weapon
and telepathic shield - a symbol of
power, if you like.
This association was also seen during
the liberation of the Roaring Twenties.
The emergence of Flappers - women
queen elizabeth ii (1953)
who challenged their own role in
society - saw skirts being shortened,
slits cut higher and crucially, the
popularity of the cloche: a bell-
shaped, fitted hat that was adopted
even by high fashion house Lanvin.
The latter is important because it
could only be worn with short hair -
something which society once frowned
upon. In a way, the cloche not only
set a new trend but inadvertently
challenged social norms, empowering
women to be who they wanted to be.
While the effect of the 1920s wore off,
the fashion for adorning ones coiffure
with something special never faltered.
The late Princess of Wales herself
didnt shy away from adding her own
spin to the trend - from her turban-
inspired royal blue topper she wore
while on tour in Dubai to a white,
sailor-type hat she donned at the La
Spezia navel base in Italy - Diana
certainly reinvigorated the hat scene,
perhaps setting the stage in Britain for
designer, Isabella Blow.
Lynda carter as wonderwom an (1975)
33
The latter, famous for purchasing 1
Alexander McQueens entire graduate Headwear by Willow Bunton
BA (Hons) M ake-up and
collection, designed headpieces and Prosthetics for Perfor m ance
Photogr aph: Catalin Plesa
fascinators that defied convention.
A piece which often gets singled out 2
is her Ship Hat, structured entirely Headwear by Alex andr a Druzhinin
MA Fashion Artefact
from feathers. Blows designs pushed Photogr aph: James Rees
boundaries and in many ways, was an
expression of her eccentricities and
following her death, were admired as
pieces of art.
The use of headwear as a statement
art piece is now many an artists raison
ddtre (on the red carpet at least).
True of Lady Gaga especially, when
she wore an outfit made entirely of
meat - complete with matching raw
beef hat - to the 2010 MTV Video
Music Awards. Either way, whether as
a piece of steak or surrounded by a
plume of feathers, headwear - more
often than not - tends to steal the show.
Cloche hat as worn by silent Princess of wales (1989)
film star Vilm a Bnky, 1927
1

THE ROMANCE
OF THE
CRINOLINE

35
 Crinolines and Ballgowns from Charles
Frederick Worth the founding father of
couture through to the New Look of Dior
and the enormous skirts of Marchesa this
tiny bodice and huge skirt of every little girls
dreams says a fashion constant.
Rebekah Cheng
The latter included the introduction of
the crinoline - designed to shape and
support ones skirt - worn beneath day
dresses and evening ballgowns. The
British social season naturally involved
many of these gowns - particularly
at Dbutante cotillions - and was
inevitably a required state of dress
when being presented to the King and
Queen. One can only imagine the
difficulties these ladies faced when
exiting their carriages!
The 20s saw the death of such
formalities including the corset. For
this, credit goes to Coco Chanel
who in her own words, let go of the
waistline. Two decades later, this
was perhaps forgotten. In the Spring
of 1947, Christian Dior presented
his first collection in Paris to much
acclaim and wide-eyed wonder.
Cinched waists and bust-enhancing
cuts revolutionised the silhouettes of
women across the world. This New
Look - a term credited to then editor-
in-chief of Harpers Bazaar, Carmel
Snow - paved a way for a new kind of
fashionable dress:
I wanted my dresses to be
constructed, moulded on the curves
of the female body whose contours
The ballgown. A vestige, true, of
aristocr atic past, but also for
a long time the source of much
experimentation in fashion.
- Daphne Guinness
they would stylise. I accentuated the
waist, the volume of the hips and
emphasised the bust. In order to give
my models more hold, I had nearly all
fabrics lined with percale or taffeta,
renewing a tradition that had long
been abandoned. - Christian Dior
Indeed, the ballgown not only
reinvigorated womanly sensuality
in dress but also helped define the
careers of many of its makers. Take
for example, Hubert de Givenchy,
who designed Audrey Hepburns gown
in the classic movie, Sabrina (1954).
He went on to design the rest of her
wardrobe (in all her movies), including AUDREY HEPBURN IN GIVENCHY DRESS
SABRINA, 1954
that famous wedding gown in Funny
Face (1957).
While the art of dress continues
to evolve in this age of fashion
transience, there has been a
constant in the decadence and
creation of ballgowns - from the
ever-ethereal Marchesa with endless
tulle and delicate beadwork to
the Lebanese genius that is Reem
Acra, whose designs are worn by
many a Hollywood leading lady on
red carpets across the globe. The
ball gown is here to stay and we
completely approve.
MASIE NOBLE
BA (HONS) FASHION ILLUSTRATION
1
Costume by Ruby Vestry
BA (Hons) Costume for Perfor m ance 2014
Photogr aph: Orsolya Luca
2
Womenswear by Cassey Gan
BA (Hons) Fashion Design Technology: Womenswear
Photogr aph: James Rees
37
1

GRANDEUR
AT COURT

39
Fashion at Court
in Great Britain
Rebekah Cheng
From side-hooped dresses to
crinolines and ostrich feathers, court
fashion was the most lavish form of
dress in late 18th- and 19th century
Great Britain. Attendees of official
state affairs wore Court Dress, with
the exception of those entitled to
Court Uniform (e.g. Members of the
Royal Household, the Civil Service,
the Privy Council etc.) The former
determined ones social status
and was a reflection of political
importance, usually worn by those
in the royal circle and aristocratic
high society.
Indeed, this was strictly adhered to
following the publication of Dress
Worn at Court by Lord Chamberlain
in 1882. Gentlemen wore black
Womenswear by Tar ang Bharti
BA (Hons) Fashion Design Technology: Womenswear
Photogr aph: James Rees
Isabella Cotier - Costumedress
BA (Hons) Fashion Illustr ation
Womenswear by M aewa Uhlm ann
BA (Hons) Fashion Design Technology: Womenswear
Photogr aph: James Rees
velvet suits with white bow ties,
paired with fine silk stockings and
steel-cut buckled boots. Court Dress
for women always involved a long
decorated train, no less than three
yards in length from the shoulders.
Ladies adorned their hair with feather
plumes, wore white veils or lace
lappets and accessorised with mother-
of-pearl fans.
In particular, at Leves hosted
by the Princes of Wales for the
presentation of gentlemen and
Court Presentations (the equivalent
for women) to the Queen, these dress
codes were religiously followed; the
promise of a kiss on the cheek from
Her Majesty was too prized a reward
not to. The social prestige gained as
40
a result of the procession was highly
sought after, well worth the hours
of waiting to be called forward to
the Throne Room.
Towards the end of the 19th century,
Court Dress became less opulent given
a diminishing need to wear it. The
effects of the First and Second World
War further transformed the rigid
customs that for so long controlled
the British Court and its practices.
The continued informality of the 21st
century has seen an even greater
erosion of rigid fashion protocol at
Court, although on occasion tradition
still takes precedence in the age of
fashion transience.
3
1

Statement
fashion

43

STATEMENT FASHION/DRESSING
Stephanie King
The act, or art, of dressing has been
long accepted as a form of self
expression, a visual showcase of
individual identity. From 80s power
dressing, to flirty 20s flapper styles
and sequin-abundant pieces worn
at Studio 54 during the 70s, clothes
have always served as the perfect
medium for illustrating personal style.
Making a statement is never easier
than through ones fashion choices,
which allow wearers to communicate
their beliefs and attitudes as
eccentrically or as conservatively as
they desire.
Sociologist Georg Simmel first
noted in his 1904 American
Journal of Sociology article,
Fashion that clothing is used as
a way of demonstrating wealth and
demarcating oneself although not
too drastically from others. And this
is no more apparent than in the ever-
distinctive dress styles of upper social
classes. Throughout the decades
individuals with significant financial
means have, and will continue to,
heavily influence the adoption of
certain fashion trends in everyday life.
Featuring prominently in recent years
has been an overtly bold design
aesthetic from the worlds best fashion
labels, both NEWGEN and old.
1 2
Menswear by Alexis Housden
BA (Hons) Fashion Design Technology: Menswear
Photogr aph: James Rees
Cloud dress
Isabella Cotier
BA (Hons) Fashion Illustr ation
Womenswear by Daniel Pascal Tanner
BA (Hons) Fashion Design Technology: Womenswear
Photogr aph: James Rees
3
The Spring/Summer and Autumn/
Winter collections of Jil Sander,
Prada, Mary Katrantzou and Peter
Pilotto, for example, have consisted
of loud patterns in shocking hues and
striking prints, where the advent of
e-commerce websites and street style
photography has quickly encouraged
an ostentatious way of dressing to
become a worldwide phenomenon.
So much so, that it prompted OBE-
awarded fashion journalist Suzy
Menkes to pen a scathing article in
T Magazine on the peacocking she
observed at Fashion Weeks, titled
The Circus of Fashion.
To combat the extravagant mode of M ary K atr antzou
LOreal Melbourne Fashion Festival 2013
dress dominating todays runways
and rues, the latest trend dubbed
normcore has arisen, inspiring the
masses to let go of their need to
look distinctive. While renowned,
flamboyant Italian editors Anna Dello
Russo and the late Anna Piaggi may
not embrace its trademark stylised
blandness, normcore has offered
society another interesting sartorial
perspective. Yet what is perhaps the
most encouraging, is the growing
acceptance of different senses of
style, which is the biggest fashion
statement of all.
44
1

THE LURE
OF THE
EXOTIC

46 47
 The Lure of the Exotic
Stephanie King
Decorative trinkets from far off
destinations, curious and beautiful
creatures from remote locations:
the treasures of faraway lands
are some of the most enticing in
existence. For centuries these forms
of exotic inspiration have captured
the imagination of fashions biggest
names. The late Elsa Schiaparelli and
Christian Lacroix are two influential
designers who frequently incorporated
uncommon textiles and materials into
their designs. Unusual animal skins or
at the very least, their print patterns,
were prominent features of Lacroix
and Schiaparellis pieces, where
Schiaparelli especially was famed
for her collection of travel souvenirs.
Cultures of the world, namely
architecture and traditional dress of
distant cities/communities, significantly
influenced their work and that of
future design houses.
Whether it is alligator, eel, python,
crocodile, lizard or ostrich, todays
fashion labels also show a strong
fascination with the exotic. Be it in
coat, bag or shoe form, the luxury
Italian labels Roberto Cavalli,
Bottega Veneta, Gucci and Fendi are
particularly renowned for their work
with these expensive hides, with British
luxury label Jimmy Choo equally
celebrated for its exotic offerings.
Christian Lacroix, 2008
Interestingly, styles that were 1
considered exotic centuries ago still Linda Awuku
BA (Hons) Fashion Textiles
remain fashionable. Most notably is Photogr aph: James Rees
Queen of the Nile Cleopatra, who
2
introduced Roman-style gowns and
Faye van Andel
coin jewellery into dress worn in Egypt BA (Hons) Fashion Design Technology: Womenswear
photogr aphy: JAMES REES
an exotic location in its own right.
Nowadays however, it is Cleopatras 3
trademark kohl-lined cat eyes and Womenswear by Luke Bullen
BA (Hons) Fashion Design Technology: Womenswear
heavily cuffed forearms that are often PHOTOGRAPHY: Catalin Plesa
adopted; but these two modes of
4
dress also had exotic origins.
Womenswear by Kenji Lau
BA (Hons) Fashion Design Technology: Womenswear
PHOTOGRAPHY: Catalin Plesa
Clearly there is something universal
and enduring about the exotic. Perhaps
underlying its enchanting nature is
its implicit rarity. Fashion made from
unusual materials or at least, inspired
by unusual materials makes the
piece even more appealing because
that uncommonness, that difficulty
to acquire its components, simply
amplifies the pieces desirability.
If nothing else, designs constructed
from or featuring exotic elements
are guaranteed to garner attention.
Its highly likely that their allure will
prove irresistible.
Ostrich leather Kelly bag by Her ms ELIZABETH TAYLOR IN CLEOPATRA, 1963
49
3 4

50 51
1

WHITE
THROUGHOUT
LIFE

53
White: From Cradle to Grave
Stephanie King
From the vanilla hued togas of
the court of the Roman Empire, to
the snow-tone outfits worn by the
Queen of England to open a new
session of Parliament, world history
is saturated with white. While this
neutral shades validity as an official
colour is frequently questioned, white
is, surprisingly, a combination of all
of the colours; it is a product of all of
the different light wavelengths in the
visible spectrum.
Whites inherent purity makes it the
symbol of innocence, where young
debutantes exclusively wear white
dresses to commemorate their entre
into high society. This is, of course,
a modern day evolution of the
powdered wigs and milky-white gowns
worn by nobility during the 18th
century Rococo period. Today, white is
relied upon habitually for its versatility,
with classic wardrobe staples such as
the white button-down shirt or t-shirt
regarded as essential basics. The
Menswear by Alexis Housden
BA (Hons) Fashion Design Technology: Menswear
Photogr aph: James Rees
Womenswear by Robin Siggesson
BA (Hons) Fashion Design Technology: Womenswear
Photogr aph: James Rees
cloud-like tone possesses so many
connotations that it is universally
adaptable, representing concepts from
perfection, the good and futurism,
to honesty, minimalism and virginity.
In film history, however, some of the
silver screens iconic white costumes
have been far from innocent, with
Marilyn Monroes alluring Seven Year
Itch (1955) halter dress perhaps the
most memorable of all. A few years
later in 1962, a white bikini-clad
Ursula Andress captured audiences
attention in the James Bond film, Dr
No. But it was really Sharon Stones
leg crossing scene in Basic Instinct
(1992) that shocked movie goers,
when she revealed it was only the polo
neck slip dress that she was wearing.
Undoubtedly the updated application
of white could not be further from its
traditional use.
In Eastern cultures, the ghostly tone is
associated with death and mourning,
54
where in ancient Egypt white linen was
used for the Egyptians burial process
of mummification. In Christianity
however, white is considered a symbol
of surrender and sacrifice, as it is
believed that Christ sacrificed himself
for the sins of mankind. According to
the Bible, Christ was resurrected three
days following his crucifixion, which
is why white has also been connected
to the idea of new beginnings. As
a result white is often worn during
Christenings and religious ceremonies,
where in the 19th century Queen
Victoria popularised wedding dresses
of a pearl-esque hue.
During the same era white was equally
fashionable overseas, but only for a
certain period of the year: ever heard
the phrase, No wearing white after
Labor Day? From the late 1800s
summer in America was the only
acceptable time to don any shade of
blanc. Why? The aristocrats believed it
should remain exclusive to resort wear.
Today such a convention isnt strictly
adhered to, and indeed, neither is the
UK tennis tournament Wimbledons
requirement for its players to solely
wear white sportswear. However some
current fashion designers have made
the colour an unofficial uniform
within their lines.
Calvin Klein and Narciso Rodriguez,
especially, use the minimalist tone
as a signature, and their trademark
all-white looks were recently joined by
others: 2014s runways were frosted
with head-to-toe white ensembles
from Alexander Wang, Chlo, Victoria
Beckham, Christian Dior and Peter
Som. After all of its previous uses,
these luxury labels still consider white
a colour that some perceive as
boring as anything but bland. After
all, theres got to be a reason why one
of fashions most famous designers,
Coco Chanel, wore white year-round.
2
LONDON . NEW YORK . DUBAI . SHANGHAI . FLORENCE

www.arts.ac.uk/fashion/channel