deconstruction (fashion)

 

  • [20] Fashion deconstruction also implies that the fashion system in general, and costume in particular, is erroneously thought of as a structure.

  • [20] Fashion deconstruction was based on a critique of stereotypical ideas about clothing and insisted on the possibility of breaking the standard structure of a suit.

  • “Deconstructivism involved a change in the very principle of costume, … [it] saw in clothing an analytical precedent and a form of aesthetic resistance”.

  • Fashion and architecture had a common basis: like architecture, costume was an appeal to form.

  • Deconstruction and anti-fashion Deconstructivism in costume has become one of the consistent trends built on opposition to the idea of fashion.

  • [8][9] Designers and critics have emphasized the alternative nature of fashion deconstruction to commercial or runway fashion,[14] although this opposition is rather relative.

  • [16][17] It is assessed as an attempt to create a new direction in costume both in terms of shaping and in the sense of creating a new fashion ideology.

  • presented clothing not only as the object of strict rules, but also outlined the possibility of breaking them as part of fashion strategy.

  • Fashionable deconstruction used architectural principles, in particular – the violation of standard ideas about form, design and structure.

  • Deconstruction in fashion was part of a philosophical movement where the ideas of deconstruction could be expressed in applied forms.

  • For fashion, turning to the philosophy of deconstruction was one of the ways to confirm its intellectual status.

  • [26] In addition, deconstructivism was one of the first large-scale movements that outlined the very possibility of alternative fashion.

  • [10] It became a form of criticism of standard commercial clothing and implied the possibility of a system focused on a philosophical prototype.

  • [14] It arose as a reaction to continental philosophy[7] and can be seen as one of the attempts to present fashion as an intellectual movement.

  • Deconstructivism suggested the possibility of a new social reference point for fashion.

  • [1] General principles Origin[edit] Deconstructivism is considered one of the most influential fashion trends of the 1980s and 1990s.

  • [5] Under the influence of deconstruction,[7] a new strategy was formed in fashion – an understanding of fashion as an intellectual phenomenon.

  • [13] In the work of art historian Ekaterina Vasilyeva, “deconstructivism” is considered an intellectual and analytical system associated with the concepts of language, disorder,
    structure and the violation of the traditional standard of fashion.

  • Deconstructivism was focused not so much on the mechanism and rules of the fashion industry, but on philosophy and architecture.

 

Works Cited

[‘1. Vasileva E.V. (2018) Deconstruction and Fashion: Order and Disorder // Fashion Theory: The Journal of Dress, Body and Culture, no. 4 (50), pp. 58–79.
2. ^ Jump up to:a b c d e f g Gill A. Deconstruction Fashion: The Making of Unfinished, Decomposing
and Re-Assembled Clothes // Fashion Theory: The Journal of Dress, Body & Culture. 1998. Vol. 2.1. pp. 25-49.
3. ^ Vasileva E. (2023) Fashion Theory: Myth, Consumerism and Value System. Saint Petersburg; Moscow: RUGRAM_Palmira. pp. 247.
4. ^ Jump
up to:a b c d Granata F. Deconstruction and the Grotesque: Martin Margiela / Experimental Fashion: Performance Art, Carnival and the Grotesque Body. London — New York, I.B.Tauris: 2017. p. 74 — 102.
5. ^ Jump up to:a b Vasileva E.V. (2018) Deconstruction
and Fashion: Order and Disorder // Fashion Theory: The Journal of Dress, Body and Culture, no. 4 (50), pp. 61.
6. ^ Gill A. Deconstruction Fashion: The Making of Unfinished, Decomposing and Re-Assembled Clothes // Fashion Theory: The Journal of Dress,
Body & Culture. 1998. Vol. 2.1. Pp. 25.
7. ^ Jump up to:a b c Avtonomova N. S. Derrida and grammatology // Derrida J. On grammatology. M.: Ad Marginem, 2000. – P. 7-107.
8. ^ Jump up to:a b c Gill A. Jacques Derrida: fashion under erasure. / A.
Rocamora & A. Smelik (Eds.), Thinking Through Fashion: A Guide to Key Theorists. London: I.B. Tauris, 2016. pp. 251—268.
9. ^ Jump up to:a b c Vasileva E. (2023) Fashion Theory: Myth, Consumerism and Value System. Saint Petersburg; Moscow: RUGRAM_Palmira.
pp. 247–278.
10. ^ Jump up to:a b Koda H. Rei Kawakubo and the Aesthetic of Poverty / Costume: Journal of Costume Society of America, 1985, № 11, pp. 5-10.
11. ^ Martin R., Koda H. Infra-Apparel. [Exhibition catalogue]. New York: Metropolitan
Museum of Art, 1993.
12. ^ Jump up to:a b c Johnson P., Wigley M. Deconstructivist architecture [Catalog of the Exhibition]. New York: Museum of Modern Art, 1988.
13. ^ Gill A. Deconstruction Fashion: The Making of Unfinished, Decomposing and Re-Assembled
Clothes // Fashion Theory: The Journal of Dress, Body & Culture. 1998. Vol. 2.1. p. 25.
14. ^ Jump up to:a b c Wilcox C. Radical Fashion. [Exhibition catalogue]. London: V & A Publications, 2001.
15. ^ Brunette P., Wills D. Deconstruction and
the Visual Arts: Art, Media, Architecture. Cambridge: Cambridge University Press, 1994.
16. ^ Spindler A.M. Coming Apart // New York Times. 1993. July 25. Styles section. Pp. 1, 9.
17. ^ O’Shea S. La mode Destroy // Vogue (Paris), 1992, May.
18. ^
Vasileva E.V. (2018) Deconstruction and Fashion: Order and Disorder // Fashion Theory: The Journal of Dress, Body and Culture, no. 4 (50), pp. 60
19. ^ Jump up to:a b c d Vasileva E.V. (2018) Deconstruction and Fashion: Order and Disorder // Fashion
Theory: The Journal of Dress, Body and Culture, no. 4 (50), pp. 58–79.
20. ^ Jump up to:a b c d e Vasileva E. (2023) Fashion Theory: Myth, Consumerism and Value System. Saint Petersburg; Moscow: RUGRAM_Palmira. pp. 247–278.
21. ^ Vasileva E.V.
(2018) Deconstruction and Fashion: Order and Disorder // Fashion Theory: The Journal of Dress, Body and Culture, no. 4 (50), p. 60.
22. ^ Jump up to:a b McLeod M. Undressing Architecture: Fashion, Gender, and Modernity // Architecture: In Fashion
/ Ed. by D. Fausch et al. Princeton: Princeton Architectural Press, 1994.
23. ^ Wilcox C. Radical Fashion. [Exhibition catalogue]. London: V & A Publications, 2003.
24. ^ Derrida J. De la grammatologie. Paris: Les Éditions de Minuit, 1967.
25. ^
Gill A. Deconstruction Fashion: The Making of Unfinished, Decomposing and Re-Assembled Clothes // Fashion Theory: The Journal of Dress, Body & Culture. 1998. Vol. 2.1. pp. 26-27.
26. ^ Martin R. 1992. Destitution and Deconstruction: The Riches of
Poverty in the Fashion of the 1990s. // Textile & Text, 1992, vol. 15, № 2, pp. 3 — 12.
2. Brunette P., Wills D. Deconstruction and the Visual Arts: Art, Media, Architecture. Cambridge: Cambridge University Press, 1994.
3. Cunningham B. Fashion
du Siècle // Details, 1990, No. 8. pp. 177–300.
4. Koda H. Rei Kawakubo and the Aesthetic of Poverty / Costume: Journal of Costume Society of America, 1985, No. 11, pp. 5–10.
5. Martin R., Koda H. Infra-Apparel. [Exhibition catalogue]. New York:
Metropolitan Museum of Art, 1993.
6. O’Shea S. La mode Destroy // Vogue (Paris), 1992, May.
7. O’Shea S. 1991. Recycling: An All-New Fabrication of Style // Elle, 1991, No. 2, pp. 234–239.
Photo credit: https://www.flickr.com/photos/bpprice/15632065904/’]