‘Sentimental’ Printed Textiles - Design Development
Inspiration
David Bowie was my inspiration for this project, in particular Bowie’s 70's style, although there are images since then of Bowie in floral prints I chose to look at the clothing and styling during this decade. The stance in magazine shoots are portrayed as feminine, or societies idea of femininity. Wearing make up often with elaborate costume or form fitting theatrical pieces. Bowie’s hair was dyed hair red, with heavy make up and striking costumes that created a spectacle. Ziggy Stardust, Bowie’s alter ego was a rock star acting as a messenger for extraterrestrial beings, Bowie performed as this character on Top of the pops - 1972, the performance was shocking and controversial, pushing the boundaries of fashion and decency.
Ziggy was my Martian messiah who twanged a guitar. He was a simplistic character. Someone who was dropped down here, got brought down to our way of thinking and ended up destroying himself. – Bowie
Ziggy Stardust's blending of high camp with serene femininity changed popular culture and confused representations of gender and sexuality. The music and the larger Glam Rock movement should be seen as a rebellion against the government and the blindness people in power have towards the destruction and impact their actions have on the earth. Environmentalism became a social movement; as the 70s saw a mainstream affirmation of the environmental issues activists had warned of in the previous decade. We see this idea in the song ‘Five Years’ where Ziggy offers a premonition of the dread to come, ‘News guy wept and told us/Earth was really dying/Cried so much his face was wet/Then I knew he was not lying’. I feel the expression through music and appearance shows creativity, bravery, and a complete refusal to conform. I wanted to look at designs that would typically be associated with femininity, from a studio drawing workshop I chose a few of images to be the beginning of my research. The flowers I drew and painted, although not very detailed had a slight Asian style to them, I chose to develop this and research Chinoiserie patterns in fashion and textiles. Chinoiserie is a French word that translates to 'in the Chinese taste' and describes the European interpretation of Asian Art. Patterns of Oriental scenes, birds and flowers cover textiles, wallpapers, furniture and pottery. Throughout the 17th century Chinoiserie was associated with status and by the 18th century it became very popular due the the rise in trade between Europe and East Asia. Although presumed Chinese most Chinoiserie was a blend of Indian, Japanese, Persian and Chinese elements. I believe it has relevance to gender as interior Chinoiserie decoration would not usually be in spaces associated with men and would be confined to private areas of the home such as dressing rooms and bedrooms. It is also said to be able to appreciate this art you did not require an education in classics or philosophy and this is the supposed reason why it was appealing to women.
Research
My research has led me to look at darker chinoiserie patterns. I came across dramatic images of environmentally effected wallpaper and textiles which were found in abandoned buildings. My research into buildings that have been left alone is relevant to my concept, these images show the natural effects of decay and give a sense of the time passed but, beauty is in all of these elements, it observes beauty regardless of effect in the same way we are celebrating beauty regardless of gender.
Definition - Beauty : Adjective
Possessing qualities that give great pleasure or satisfaction to see, hear, think about, etc.; delighting the senses or mind.
I started to look at what makes us appreciate beauty and why would we have different ideas about what beautiful is. What effects us and what is ingrained and how this relates to our ideas of what is feminine or masculine. Are we conditioned to appreciate and accept certain things or is it natural, are our minds our own to decide or have we been told to, is it subject to intelligence or experience, open-mindedness? and then, from that, do we continue with the same beliefs and opinions that would effect future decisions or would it evolve and if it did evolve would it be a natural evolution or what we are directed towards. My concept throughout this project has been 'beauty regardless' meaning beauty can still exist regardless of effect, gender and opinion. I wanted to incorporate elements often associated with femininity and apply this to a textile print pattern for menswear. This idea is not so unusual but using a floral print over a background that appeared distressed, informal and decayed is a juxtaposition of beauty ideals. Because there is a lack of diversity in fashion it creates a narrow perception of beauty, I don't think we should we accept such a limited view of what beautiful is or should be. Campaigns that show plus size models, address age, race or genderless fashion should not be a novelty, we should accept all beauty in any form and not categorise it at all. Everyone has an idea of what beautiful means to them and everyone should have the freedom to wear what they choose without fear or restriction, allowing and accepting others to do the same.
Freedom : The absence of human coercion or restraint preventing one from choosing the alternatives one would wish.
Motif Designs
Print Designs
I hope to portray, in my textiles print collection a relaxed, artistic and developmental aesthetic. I want this collection to include eclectic designs whilst incorporating my own style consistently to bring it together. Inspiration comes from aesthetic art and Leighton House Museum.
Portfolio
