In the World – Page 2 – 99-361 A: Garment Patterning, Construction, and Experimentation

sneakers, basketball, and hip hop

Hip Hop fashion and culture has always evolved alongside basketball. One of the earliest roots of modern hip hop culture is basketball shoes, originating with the Chuck Taylor’s. The advancement of basketball players and the sport led to more engineered footwear like Adidas’ Superstars and Puma’s brightly-colored suede shoes. Naturally, the popularity of basketball caused its shoes to become immensely popular casual shoes, especially in New York. This led to these shoes being identified with hip hop.

Walt Frazier (New York Knicks) in Puma, Wilt Chamberlain (Los Angeles Lakers) in Converse, and Jim McMillian (Lakers) in Adidas, NBA Finals 1973.

Hip Hop was created around the 1970s by teenagers from largely African American, Caribbean, and Puerto Rican backgrounds. It was formed around rap music, breakdancing, and graffiti art. Hip Hop continued to grow along with basketball, as black players also provided models of African American success. As hip hop became more engrained in American culture, many other artists from the art and film worlds were attracted to its creative energy.

Boys in Puma, Pro-Keds, and Converse in the South Bronx, New York, 1977.

It is interesting how shoes popular even today are so deeply rooted in American culture and fashion, such as converse, adidas, puma, and nike. It is even more fascinating that these shoes’ origins are tied to basketball and its growth in American history.

src: https://www-bloomsburyfashioncentral-com.cmu.idm.oclc.org/products/berg-fashion-library/book/the-sports-shoe-a-history-from-field-to-fashion/sneakers-basketball-and-hip-hop

Queer Fashion: Part Leather

Franky Moore

Adam Geczy and Vicki Karaminas wrote the book “Queer style,” and I chose the “Kiss of the Whip” chapter because of it’s striking title and implications in the queer fashion scene. First, Geczy and Karaminas define the terms essential to their discussion: Bondage, Discipline, and Sadomasochism, and the context for these terms and queer culture within the dominant society. They then argue that queer culture co-opted aspects of the BDSM community to subvert traditional expectations around sex in order to emphasize queer culture’s differences from heteronormative society through interesting visual cues. Straight people can practice BDSM as well, but there is significant overlap between BDSM and the queer community through subverting expectations and re-enacting authority in cloth and accessory. The latter is as diverse as the human imagination, and is openly seen at Pride parades and in everyday street fashion as a calling card for queerness. This is see in the public display of leather harnesses, collars, latex and rubber wear, leashes, and chains, all of which highlight elements of control and emphasize the wearer’s difference from heteronormative society’s sexuality. The uniforms used in BDSM deconstruct power and authority through purposeful transgression of social norms; the authors devote a significant amount of time discussing fascism in relation to Gestapo uniform features, such as “padded shoulders” and “taut angularity” being incorporated into scenarios of consensual cruelty, and work-wear of the 1980s. Overall, BDSM is a part of queer fashion, and certainly not the be-all-end-all of queer fashion. It offers a way for queer people to scream their identities and strike down the power they must contend with in everyday life.

I started to skim this article and found myself engrossed in a similar way to looking at roadkill from the side of the road: it’s impossible to look away. I agree with the article’s primary assessment of BDSM and the queer scene: go to a gay bar or pride parade and you’ll see a variety of leather and latex from performers and viewers alike. The minutiae of this overlap is explicitly detailed, and I found the historical context for BDSM and the cultural history around queer people well-put. The deep dive into fascism and its need for control reflected and subverted in BDSM was fascinating, and profoundly unsettling. I would love to read an entire article on suiting and its fascist undertones, which was briefly mentioned in power-dressing, because of the prevalence of suiting in corporate America and cult around formal menswear. I think it’s important, too, to see how BDSM has been used as a rhetorical device for fascism to be explicitly criticized. I also found the connection between machines and leather with queer motorcycle riders interesting, as it started to reinforce masculine identity and quickly spun out of control to reinforce themes of power, control, and a character/design the wearer wished to obtain. I wish the authors used more accessible language, because it made some of their arguments harder to understand. I also wish they had not strived for shock in some portions of the chapter; this manifested in having a paragraph of carefully constructed nuance dashed away for a pithy one-liner.

I would highly recommend reading this article if you want to get a deep dive on leather and the queer fashion scene, or want to look more into the history of fascist clothing and its shadow in alternative cultures.

“Kiss of the Whip: Bondage, Discipline and Sadomasochism, or BDSM Style” https://www-bloomsburyfashioncentral-com.cmu.idm.oclc.org/products/berg-fashion-library/book/queer-style/kiss-of-the-whip-bondage-discipline-and-sadomasochism-or-bdsm-style

Cultural Aspect of a Garment Natalia Santiago

The article I chose to talk about is titled Dress and Dance in Puerto Rico, this article is found in the book Berg Encyclopedia of World Dress and Fashion under the chapter titled “Part 4: The Caribbean”. This section addresses the history and different influences behind typical Puerto Rican garments used in traditional dances and festivals. The article starts by looking at the Taínos and Spanish colonialism in the 1400s explaining how the Taínos’ short frontal slips (naguas) and denotative jewelry were switched for typical European garments when enslaved. This figure then evolved into the romanticized vision of el jibaro or the typical field working-man of the 1800’s who wore long sleeved-shirts and wide-brimmed hats with long pants to protect them from the heavy fieldwork. The article then moves on to explain how the clashing of the Spanish, Taíno, and African cultures produced different celebrations and music genres now typical to Puerto Rico. Each of these had its own characteristic garments such as la Bomba which requires a beaded petticoat (enagua). More modern music such as Rap and Reggaeton have more distinct styles rather than garments which entail baggy pants with white sneaker shoes and flashy jewelry. In regards to the festivals, the article talks about some typical festivities that occur around the island which include masked figures that resemble bats in their clothing and are supposed to ward off evil spirits (vejigantes).

As the article was written in 2005 and it chooses to focus on more historical garments it was interesting to see the styles described in this article and compare them to the styles of today. Garments, such as those used for the Vejigantes in festivals and the traditional Bomba dances, are still being used today, as they are part of the traditions; however, styles such as those worn by reggeaton artist have evolved from the characteristic baggy pants and thick jewelry to more modern forms of street styles. This can mainly be seen in more modern and well-known reggeatoneros such as Bad Bunny and Lunay. It was very interesting to read this article and make the cultural connections of styles and dances from the past and seeing how they have influenced styles today. Seeing the evolution from style for functionality, such as the clothing work by jibaros, to style as a form of expression, such as the clothing worn by salseros and reggeatoneros was also really interesting.

Reference:

Vázquez López, Raúl J. “Dress and Dance in Puerto Rico.” Berg Encyclopedia of World Dress and Fashion: Latin America and the Caribbean. Ed. Margot Blum Schevill. Oxford: Bloomsbury Academic, 2005. 270–276. Bloomsbury Fashion Central. Web. 05 Feb. 2021. <http://dx.doi.org.cmu.idm.oclc.org/10.2752/BEWDF/EDch2041>.

Cultural Garments – Elena

OVERALLS: FUNCTIONAL, POLITICAL, FASHIONABLE

Image result for Norman Rockwell The Saturday Evening Post May 1943 — Norman Rockwell Saturday Evening Post Cover May 1943

Image result for illustrations by Jean Pagès American Vogue December 1930 — Jean Pagès Ski Suit Illustrations for American Vogue, December 1930

Image result for Stephen Burrows gold lamé jumpsuit — Stephen Burrows Gold Lamé Jumpsuit, Late 1970’s

This book chapter focuses on overalls, and the wide range of both practical uses and fashionable trends for which their design has been adapted and applied. From the Eastern European desexualized and gender-neutral socialist uniform, to the similarly practical and androgynus American wartime garment, to the eventual design of the skisuit, spacesuit, and the disco-chic jumpsuit. It mainly covers the versatility of the design, from both aesthetic perspectives as well as functional ones.

I’ve personally always been quite fascinated by the overall, as the pre-coordinated outfit has a seemingly limitless realm of possibility. Its was fascinating to read about the very specific cultural significance that different versions of this garment have had in the past, and how incredibly varied that history has been. One quote that stuck with me especially was that overalls can be seen”in utopia as an ideal outfit, and in dystopia as a cursed one.”. They contain both the strength to completely empower the wearer and simultaneously to completely strip them of their originality and personal style. So much of the culture of the garment comes from the culture of the specific design or even the greater context of the environment within which it is worn.

Cultural Garment_Sean Meng

Image result for clot aj13 — Air Jordan 13 “Terracotta Army” by CLOT

In the article, the author discusses traditional Chinese clothing evolution from the ancient period to the modern. While the garments’ formal appearance reflects certain social ideals and cultural identity, the drift of garment style inevitably forms and influences the aesthetic of the specific period. With historical and social movement stimulating this drift, modern clothing detached from the traditional form and techniques from ancient dynasties. Most apparently influenced by Western culture, formal robes and dresses were simplified to jackets and pants. However, with the Hanfu Movement, people started to seek reconnection with ancient culture using the garment as a medium.

This attempt to bridge the present with the past is intriguing to me that while there’s a chance to revisit the past, it is still possible to celebrate the culture and history by letting it coexist with the modern. Over the recent years, an increasing number of Chinese designers such as Edison Chen strives to elevate the traditional Chinese clothing features using contemporary silhouettes and aesthetics. These designers emerged to bridge ancient and modern aesthetic, history and presence, and forgotten culture and habitual garments by endowing classic garment design new chances to be appreciated and recognized.

With the appreciation of traditional values penetrating our modern lives, there could be a stronger bond between nation and cultural identity. And there could be a chance where standard garment form keeps inspiring modern aesthetics under a coexisting scenario.

https://www-bloomsburyfashioncentral-com.cmu.idm.oclc.org/products/berg-fashion-library/encyclopedia/berg-encyclopedia-of-world-dress-and-fashion-east-asia/overview-han-chinese

Wu, Juanjuan, and John E. Vollmer. “Overview: Han Chinese.” Berg Encyclopedia of World Dress and Fashion: East Asia. Ed. John E. Vollmer. Oxford: Berg Publishers, 2010. 109–120. Bloomsbury Fashion Central. Web. 06 Feb. 2021. <http://dx.doi.org.cmu.idm.oclc.org/10.2752/BEWDF/EDch6019a>.

Garment Inspiration – Jasmine Lee

Kamperett is a label designed by Anna Chiu and Valerie Santillo, based in San Francisco (California). What I enjoy the most about their work is their explorations with organza as a material. There is experimentation with the silhouettes, necklines, and types of hemming used. What I appreciate the most about their work is the neatness of the finishing techniques used. I typically see organza used in gowns for volume, or for the shine, but I really appreciate how Kamperett takes the material and is able to create a clean, polished silhouette out of it.

In these garments specifically I am interested in the type of layering used. Kamperett plays with the transparency of its garments as well as the fitting. I think the most interesting thing about garment wear is that someone can choose exactly what and what not to reveal, and these choices can be made in an endless amount of ways. Kamperett’s approach to this is using a transparent material that it manipulates for differing degrees of opacity. In some cases, the garments are more simple and single-layered, while in other cases the garment silhouette is mainly created through the layering used.

garment inspiration – lee chu

I find color blocking and translucency to be intriguing in fashion and everyday wear. As fashion continues to evolve and change, one thing that remains mostly constant is color variety and material choice. Since styles become outdated and overused quite quickly, more innovative means of altering our perception of color and texture can be explored.

Featured at the top of the images, Issey Miyake’s luminous jacket leverages both color blocking and layering of translucent materials to not only create hierarchy in an otherwise regular silhouette, but also provide utility and perhaps ventilation. I also enjoy the deconstructed morphed sweater from the Parsons ready-to-wear collection, as it stretches the boundaries of what defines a sweater and dress. In this case, the permeability of the dress changes at different elevations, this time more for an aesthetic. I hope to be able to explore why and what translucency can be used for in more everyday use.

Garment Inspiration – Caitlyn

In this post, I have featured three images of garment-based work that inspires me. I am excited about many different styles and types of garments, however, I think a common theme across work that I am interested in is elegance and good craft. I included the first photo because I am very interested in historical, cultural clothing and fell in love with this kimono design when I visited the Tokyo National Museum. The ornate details, colorful and textural qualities of the fabric, and geometric construction of the garment are all fascinating to me.

The second look inspires me because of how well-fitting and cohesive it is. The dress, cape, jewelry, and headpiece are all quite stunning and effectively convey a sense of sophistication. Lastly, I find the dress on the far right inspiring because of its unique structure and silhouette. The way that the dress flows out at the bottom is really intriguing, and the intricate patterns on the dress add another layer of interest. I would like to explore how different fabrics can create various effects and shapes when creating a garment.

Garment Inspiration – Julie Choi

When it comes to garments, I see myself intrigued by the way clothing forms silhouettes on the human body. I tend to study how the fabric lays on the body form to create a synchronous and architectural outcome. I love how these silhouettes enhance the shape of the body whether it is dramatically curvy or linearly even. Though there seems to be a lot of femininity in these garments, I feel like I am attracted to them with a genderless lens and simply for the power of pure sophistication that these garments hold.

In the examples I’ve attached, I love how all garments kind of look a derivative or a representation of the nature. The blue garment by Moncler Genius x Pierpaolo Piccioli uses a Japanese nylon puffer to create a dress garment that almost looks like ripples in a body of water. The baby pink haute couture piece by Giambattista Valli reminds me of a pink rose petal or a rose bouquet. I generally think the types of fabric, sewing, a fitting plays a strong role to show these resemblance, and I find them immaculate.

Garment Inspiration

Im really inspired by anything and everything created by Iris Van Herpen. I love how she collabs with scientists and used new technology, like 3d printing, to create intricate detailing. I like how her garments are all just beautiful pieces of art and how this pushes the definition of fashion. I think I also view fashion as another medium of art and I like to make clothing thats more self-expressive.

I also like really outrageous and loud sculpture garments. I really like pieces that have big silhouettes and are basically beautiful costumes that are usually not worn by most people.

I also love anything with textures. I like when designers manipulate fabric and create interesting and unexpected textures. I also realize I gravitate towards clothing with interesting textures when I buy clothing. The tactile experience makes me feel less anxious so I find comfort in exploring textures when I make clothes.