DS One e ere oO a OO OL ~ Steve Jobs Understanding Design & Aesthetics History of Design & Fashion Session 1 References : - Objects of Design: Design and Society since 1750 By: A¢ - Understanding Aesthetics (pgs. 3-20 & 159-226) - Culture and Society By: Raymond Williams - Encyclopedia: Articles on the Artist, Craftsman and Designer - Design History: A Student's Handbook Edited by: H. Conway 1987+ Art and design were more closely tied at the turn of the twentieth century than they are today. Artists did not see the difference between creating an original work of art, such as a painting, and designing a textile pattern that would be reproduced many times over. Each was a valid creative act in their eyes. + The famous French couturier Paul Poiret moved in artistic circles, employed Parisian artists, and collected their work. He went to art galleries and showed his artistic sensibilities by preferring Impressionist paintings ata time when they were new and unappreciated by the public at large. Poiret became very interested in modern art and said, "I have always liked painters. It seems to me that we are in the same trade and that they are my colleagues.“ + The Fauvist painter Francis Picabia was his friend, and they shared a love of bright color with other painters Maurice An illustration of Paul Poiret's designs. In 1908 Vlaminck and Andre Derain, whom he knew from sailing ‘and 1911, Poiret commissioned respectively the excursions on the Seine in Chatou. Among other artists whose graphic artists Paul Iribe and Georges Lepape to work he collected were Picasso, Matisse, Dufy, Rouault, and Gremte/llstrations ofihisidresses that were put together in catalogues offered to Poiret's clients, The idea was part of the new methods of marketing and promotion adopted by Poiret, Uwillo. + Poiret also loved the theater and throughout his career designed costumes for the theater that served as a springboard for his couture designs. He was famous for his parties, elaborate costume dramas with decorations by modern artists.© Poiret's theatrical background explains his great interest in the Ballet Russes, whose first appearance in Paris in 1909 impressed Poiret so much. With their colorful designs by Leon Bakst, echoing Russian peasant art, the costumes and sets expressed for Poiret not only the exoticism celebrated by painters like Picasso, but the appeal of spontaneity, a concept at the heart of much modern art. Immediately he began including "oriental" motifs in his dress designs. © The fashion press employed fine artists to illustrate the designs of the day. A new technique in printing allowed fashion illustrators to show broad, abstract expanses of bright color and a simple ine. Poiret realized its potential from the beginning and employed printmaker Paul Iribe to illustrate his radically simplified gowns. © Poiret was only the best known and best Thousand and Second Night was influenced by documented of couturiers with connections to Diaghilev's Scheherazade the costumes for which, the art world. Many other couturiers in the first half were designed by Leon Bakst of the twentieth century were not only collectors, but also friends of artists. Some collaborated with modem artists in the design of couture or in other artistic projects, especially for ballet and the stage.The interest of artists in fashion was not restricted to France. From the artists of the Glasgow School in the nineteenth century, to the Russian Constructivists, Bakst, the Wiener Werkstatte, many participated in other aspects of art and design-including illustration, theater design, decorative arts, and even advertising art. Couturiers traditionally participated in events that showcased the decorative arts, taking part in international expositions since the first appearance of the designer Charles Worth at the Crystal Palace Exhibition in London in 1851. Poiret belonged to the Société des Artistes Décorateurs, founded in 1901 for the promotion and display of modern French art. © Through the first half of the twentieth century, fashion design tracked and echoed trends in modern art. The developing aesthetic ‘of modernism can be followed in the progression of fashion design from the heavily corseted S-curved silhouettes that reflected Art Nouveau interpretation of the female form early in the century to the first uncorseted, tubular, simplified silhouette that arrived before the First World War and continued into the 1920s, to the streamlined, body-hugging dresses of the 1930s. [LES WALLETS RUSSES ‘The French couturier Paul Poiret frequently found inspiration in the Orient, creating this “Harem” evening ensemble in 1910 ® Designers in the early years of the century could choose fabrics with designs from the stylized organic motifs of Art Nouveau or the flat, abstract designs of the Vienna Secession movement-both styles having originated in the 1890s. Cubist painters, whose canvases presented greatly abstracted objects to a shocked world, influenced fashion silhouettes. Tubular dresses and rounded cloche hats ‘turned women’s bodies into geometric shapes that echoed those found in modern paintings.® ‘The chemise dresses of the early 20s were a perfect foil for surface design. Taking advantage of the plain tubular shape as a painter's canvas, each garment could be highly decorated with beading and ornamentation. Underlying this would be a textile pattern based on Japanese, Egyptian, Persian, or Viennese design. ® In the late 1920s, a new streamlined design aesthetic dubbed Moderne (now known as Art Deco) combined Cubism’s geometric base with graceful embellishments. Once again, textile patterns and fashion design echoed the trend. Shiny fabrics only enhanced the connection with the "speed" of modern life—and art. © ) The dresses, coats, bathing suits, and evening wraps found in the Tirocchi shop (Laura Tirocchi, designer), when placed chronologically, shows not only the changing silhouette of fashion, but also reflected the fact that fashion was part of aesthetics of its time. From the chemise and cloche of the 1920s, echoing Cubist concerns, to the evening dresses of the 1930s, with the body-skimming silhouettes and reflective surfaces, each garment has a particular relationship to the art of its time. ® ) The designers of these garments—and by extension Anna and Laura Tirocchi and their clientele— were reflecting the developing aesthetic of the early twentieth century and asking the question, "What does it mean to be modern?" The Twentieth Century felt "new" to people. Advances in technology increased the speed of life and the speed of change. Artists and designers responded to this new age with their work. The Tirocchis and their customers watched modern trends with interest, and did their best to wrap themselves in clothes of a new age.Is fashion an Art Movement ? Excerpt : Zandra Rhodes “1 think fashion is an art form - you might call it decorative or applied art as opposed to fine art, but what's the distinction? Because the same amount of artistic expression goes into clothes, a piece of /) pottery or a painting. I've founded a museum on the basis that | think it's an artistic form that should be remembered. | think fashion galleries - such as the one at the V&A and the one at the Metropolitan in New York -are very relevant. Fashion can tell you what people wore at a certain period just as pottery can tell you what their tea parties were like. I don't think the fact that these things were designed to be practical distinguishes them from fine art. You could say a painting is designed to go on the wall, but if it were made as a fresco, where it was part of the wall, would you say it was not art because it was practical? ® Fine art at the moment is no longer particularly concerned with beauty, so you could say that fashion - which is always about a concept of beauty, whether or not everyone agrees on the concept - is more relevant, more artistic, than the garbage they put out as conceptual. If you look at it that way, fine art may go by the wayside, and fashion, which has a bit more effort put into it, will take over.Is fashion an Art Movement ? Some designers ore directly influenced by fine art -a fot of Bill Gibb's things were influenced by the slashed panels in dresses in, say, Flemish paintings. | myself once designed something called the Venus dress which was somewhat influenced by Botticelli, though I haven't really gone too ‘much in that direction. But when I see my clothes in my ‘museum | don't feel any differently from how | felt about them at the time - Isee that | believed in what | did with them, that they were the right thing to do. Ossie Clark (on next slide) would have argued that fashion was art - he definitely thought his contribution was worthwhile, and his clothes were being shown in museums even at the time. He certainly would have expected them to be in museums now.” When Zandra Rhodes stitched scissoring seams onto her dresses in 1967, she unknowingly kicked off the deconstructionist fashion movement that would dominate the 90s. Thirty years later Versace proved that Liz Hurley's dress could be fastened by nothing but a handful of safety pins, and Jean-Paul Gaultier put a pair of cones on Madonna. Bill Gibb design commissioned by Twiggy for the Los Angeles premiere of The Boyfriend, 1971 / Photograph Justin de Villeneuve Bill Gibb's hippie-inspred outfit for the Baccarat label was proclaimed Dress of the Year' in 1970 / Photograph by Mike Davidson* Endlessly innovative, Ossie Clark brought street style to London’s most fashionable people. A ‘master cutter’, he was also a celebrity in his own right, numbering among his friends David Hockney, Patrick Proctor, Mick and Bianca Jagger, Patti Boyd and George Harrison. His collaboration with his wife, textile designer Celia Birtwell, saw the blossoming of a new young and exciting era for British fashion.| Importance of Aesthetic Experience * If you walk down any shopping mall, you are likely to find a music shop, a candy or cookie shop, a cosmetics and perfume shop, and a sportswear shop. What do they all have in common? + They all sell products where pleasurable experiences are of primary importance in purchase of the products. * Cosmetics beautify the look and feel of the skin and fragrance fills the air around the wearer with pleasurable, emotion arousing particles. A consumer may purchase a jacket for its warmth. However, the decision to purchase a jacket will be affected by considerations such as, Does the jacket make the wearer resemble an inflated rescue raft?” Another consideration may be, ‘Does the texture of the wool fabric feel smooth and rich or scratchy and harsh?’ + Be able to get a general sense of the types of pleasurable experiences that may come from products. These pleasurable experiences can be described as aesthetic experiences. * Consumers report that aesthetic aspects of apparel are of primary importance in selection and purchase of apparel. Aesthetics aspects are relevant to perceived quality and ultimately to satisfaction with the product.Importance of Aesthetic Experience * Apparel product features are not the only contributors to aesthetic experience. Aesthetic Experience (AE) is also due to the promotional (chopping) environment. The experience provided by the promotional(shopping) environment has a definite influence on the consumer decision-making process. * Apparel professionals must understand aesthetic experience because this experience is integral to the successful development, selection, and promotion of apparel products. * Apparel Professionals should consider aesthetic aspects of apparel and the promotional environment to ensure consumer satisfaction and consequently, the profitability of the apparel business. ° Aesthetic experience can be defined as the sensitive can be defined as the sensitive selection or appreciation of formal, expressive, or symbolic qualities of the product or environment, providing non-instrumental benefits that result in pleasure or satisfactionSensitive selection or Appreciation AE can result from selection of the product’s design qualities, such as a designer selecting fabrics for a season’s collection of garments or the wearer putting together her or his ensemble of garments in the morning. AE can also be derived from appreciation of what has been created by others, such as marveling at the deliberate synchrony between the beat of music and a model's gait during a fashion show. AE is not automatic, it needs to be worked-on and this is mainly due to some mesmerizing powers of aesthetic qualities.Two people can look at the same object (perhaps a sculpture or tuxedo), and one may be captivated by its elegance while the other may only attend to non-aesthetic features such as price tag or weight. Sensitivity to aesthetic qualities requires training the senses and the mind to be sharply aware of these aesthetic qualities. In AE, stimulation of the senses comes from attending to the formal qualities of the object or environment. Formal qualities do not refer to the casualness of the quality. Formal qualities refer to the perceivable features of the structural composition of the object or environment. For instance the formal qualities of apparel include color, texture, line, shape, balance, rhythm, and the proportionAndy Warhol - King of Pop. When rendering commercial objects for advertising Warhol devised technique that resulted in a characteristic image. His imagery used in advertising was often executed by means of applying ink to paper and then blotting the ink while still wet. This was a process akin toa printmaking process on the most rudimentary scale, Warhol's work both as a commercial artist and later a fine artist displays a casual approach to image making, in which chance plays a role and mistakes and unintentional marks are tolerated. The resulting imagery in both Warhol's commercial art and later in his fine art endeavors is often replete with imperfection—smudges and smears can often be found. In his book "POPism" Warhol says, “...when you do something exactly wrong, you always turn up something.” Henri Matisse - his influence on fashion designer Sir Paul Smith. British fashion designer Sir Paul Smith talks about the great influence Matisse has had on his use of colour and pattern in his own work. The designer sees Matisse as ‘the boss of colour’. inspiration, pattern, stripes, yarns, experimentation, classical, etc.Influences of Art on Fashion Lady Gaga Pop's Art Edge @Stefani Joanne Angelina Germanotta was born March 28, 1986 better known by her stage name Lady Gaga, is an American pop singer-songwriter. @Lady Gaga's bizarre exaggerated outfits are reminiscent of a pop style. Lady Gaga wore a "meat dress”. Yes a dress made of meat, to an music awards show. + “When I'm writing music, I'm thinking about the clothes | want to wear on stage. It’s all about everything altogether— performance art, pop performance art, fashion. For me, it’s everything coming together and being a real story that will bring back the super-fan. | want to bring that back. i want the imagery to be so strong that fans will want to eat and taste and lick every part of us.”People are more violently opposed to fur than leather because u > safer to harass rich women than motorcycle gangs. - Unknown Assignment 1 Relate the design aesthetics of 5 prominent international and 5 national designers. » Do a comparative study * 05 slides presentation — 5 mins. Per presentation * 02 students per presentation