According to Matt, film director Anderson said ‘It was a hotel once but not anymore. This was his opinion which came alight whilst researching into the hotel. Although the main frame does not remember all the information, memorable elements are sele... According to Matt, film director Anderson said ‘It was a hotel once but not anymore. This was his opinion which came alight whilst researching into the hotel. Although the main frame does not remember all the information, memorable elements are selectively re-edited (Anderson and Pichert, 1978). This means physical form may be there but the objective, significance and feeling will depend entirely on the thought of one’s generation background. In other words a certain situation and timeline one put themselves will bring out a result which is most adaptable. Design and creative work share similarities. Fashion creators themselves produce meaningful fashion based on the situation and generation background they lived in. This is achieved by using various images and accumulating messages they wish to deliver to form their identity. The word identity is widely used to describe the essence of subject’s philosophy. However the digital information environment we now live in overlooks the boundary of design time and caused identity standardization and reduction in value. The result was the robotic and machine like lifestyle and dry value of an act (Kho, 2015). Such phenomenon affected creative culture of fashion, and visionary acts and performances. This lead onto trials by fashion creators to expand personal dimension to be universalised. A Large number of fashion creators prioritise personal experience and subjective thinking (Ki, 2002). They also have the interest in the process of forming social and cultural values through their own identity. Fashion creator related studies until now only include foreign fashion creator’s combined design sectors, tendency analysis (Hong, 2008), fashion creator notion and identity from business brand’s perspective in Designer roles and effects of design environment in relation to combined thinking (Kim, 2005). 21st Century development of information and services lead design to be at the centre of intellectual technology. This sector also fused into other sectors and distorts the boundary between industries and causes change to the concept of ‘designer’(Park&Lee, 2008). This study will read into elements of fashion creator’s identity which branches out culturally and it’s effects in diverse sectors. Analysis were made on 5 representative fashion creators (Hussein Chalayan, Rei Kawakubo, Raf Simons, Victors & Rolf, Jean Paul Gaultier) who have significant influence in not only fashion but economics, politics and cultural inspiration. In the interest of this study, identity expressionistic case studies between 1990 to the beginning of 2000s was collected and categorically distributed to analyse fashion creator’s identity representation. Firstly, in order to identify a fashion creator’s idea and characteristics, theoretical background was researched. Secondly, elements of fashion creator identities was separated into two big categories of personal identity and message expressionistic fashion designs. Based on the research, various sector connectivity was analysed. Thirdly, based on fashion creator identity expansion elements, this can be categorised into two sectors. These are message based identity expansion and form expression identity expansion. Through these categories, analysis it effects made of industrial and artistic sectors. In order to analyse the internal elements, each fashion creator’s related official web, Guardian, New York Times, other related articles, Vogue, Elle, Style, media interviews, exhibition information, magazines, other artistic activities and interviews were researched and categorized. the breakdown shows 311 collections were categorically analysed based on the messages they were trying to deliver and characteristics of its form. Collected data was sorted and 80 of them were selected which showed potential for expansion into other sectors. This was further analysed for comparison and their class and characteristics were collectively discussed. The result showed individual identity and fashion design had mutual relationship whereby character expressions are what causes various sector expansions. Firstly, based on individual identity, a symbolic object or targeted selection show differences which go against the tradition. While Raf Simons show retaliation towards superior men’s sexuality, Rei Kawakubo tries representation of suppressed female physical form. Hussein Chalayan focuses on human isolation due to human’s nomadic and mechanic tendency and approaches scientifically to represent the present and future vision at the same time. Secondly, fashion creator identity’s expression characteristics have an impact towards expansion sector and methods. This is particularly the case when marketing is concerned as individual fashion creator’s form expression shows the difference in maintaining value towards cooperation and its inclusion methods. Thirdly, Hussein Chalayan, Rei Kawakubo, Raf Simons all used message based identity expansion by utilising fashion to produce new culture, vision and social arbitration. the function of fashion expansion can be felt especially when it challenges various cultures and efforts to change a negative image to lead a social arbitration. Furthermore, characteristics of form acts as an amplifier to expand and had its principles diffused into the market to cause the indirect the difference. In conclusion, current fashion creators are working to recognise social values. As Victor Papanek claims that interchange between professionals of various sectors distort the boundaries between industries but produce amplifying effects towards cultural expansion. No matter what generation it is, fashion creator’s attitude to be introspective and their ability to combine the clash and collaboration will be a crucial resource and an indicator to detect a flow and balance an era. Although this research has limitations in the respect that fashion creators were at the centre of the analysis, their involvement in various sectors armed with individual character identity and their expansion and expression methods were used has a deeper meaning.
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