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Fashion Kids

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Kamila Beblot

on 11 February 2013

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Transcript of Fashion Kids

Has street style lost its value in the light of mass production, fast fashion and high street fashion??

Based on the examples of communist Poland and Harajuku, Tokyo's district. The Value of Street Style Key points of investigation Communism and Polish fashion

Fashion as a form of rebellion in the PRL ( People's Republic of Poland)

Political change in Poland, development of the urban street and its authenticity

Theatrical culture of Harajuku

Fashionmap project, Sophie Woodward

Fast fashion, mass production and high street

Trickle-Down and Trickle-Up theories Street style is arguably the most authentic and the most genuinely democratic expression of personal identity in contemporary culture. Often associated with an individual’s quirkiness, it reveals the outfits that people really wear, instead of what appears on the runway. Street style is annotated, documented and publicized in fashion magazines, sites and blogs, and it has often been said that it became an inspiration for many designers who create garments for elites. We consume it, we analyze it, and we turn to it for inspiration. Street style is extraordinary to the point that it is hard to remember a time when it was not. It is a style which can start life on the street corner and has a way of ending up on the bodies of top models; on the world’s most prestigious fashion shows. This should not surprise anyone because the authenticity which street style is believed to represent is a precious possession- “Everyone wants a piece of it”. What is street style??

to examine the important issues relating to the important value of street style in today’s fashion world, along with tracing the origins of street style, assorted subcultures from now and before, mass production and fast fashion, and the impact of the high street on what is worn on the streets today. The aim of this research is: the communist economic system is the one based on a collective ownership of production by the state and elimination of private ownership for the benefit of people Pewex Political Dress Barbara Hoff Availability
similarity
uniformity
PRL seen through child's eyes Communism and its impact
on fashion in Poland Queue waiting to enter a store, a typical view in Poland in 1950s and 1980s Baltona Judyta Fibiger Photo session taken by Tomasz Sikora inspired by the movie "Political Dress" http://www.culture.pl/web/english/multimedia-cppp-full/-/eo_event_asset_publisher/9jWj/content/video-interview-with-political-dress-director-judyta-fibiger the story about rebellion in fashion

the story about fashion in non fashionable times

one of the first voices judging the PRL times from perspective of fashion and its influences on people

rich source of information about fashion and characters associated with the PRL period, and also a judgement of their creations Moda Polska Queue to Moda Polska store, 1982, photo. Chris Niedenthal/Agencja FORUM The raise of subcultures in capitalistic Poland in 90's Hip Hop and urban street Hip Hop fashion style,
Poland Hip Hop worldwide Political change in Poland
-development of urban street and its authenticity Poland's transformation from communism to capitalism,
1989 Western becomes more accessible

flood of mass production

nostalgia- today Pewex Facebook page is liked by 331k people

fascination of younger generation in the PRL times lack of basic goods in the shops

fascination in Western way of life

uniformity- lack of diversity or variation Speaking commonly In the PRL the main goal of subculture styles is to communicate a difference and a group identity as well as to distinguish from the mainstream

expression of personal identities and values onto physical appearances

intentional and toughed out style

street becomes a place to define self, very often through fashion emancipation and resistance of youths against prevailing models of social order B Boys from New York, 1980's Polish Hip Hop style , mid 90's oversized hoodies

baggy trousers

caps

skateboard-styled runners CHARACTERISTICS: POLISH BRANDS: AMERICAN BRANDS: HIGH FASHION DESIGNERS: FUBU (acronym for “For Us, By Us”),

Ecko Unlimited

Wu Wear

Mecca USA Harajuku Harajuku styles Harajuku
-source of inspiration Also LENNY AUGUSTIN, working under the label Lennor, had used a definitive touch of Japan’s Harajuku fashion exposing her playful collection on Jakarta’s Fashion Week in 2009. Even though Lennor’s philosophy of being a contemporary casual wear designer, who uses Indonesian’s textiles as the main component, it is evident that the dynamic and expressive culture of Harajuku inspired her collection Theatrical culture of Harajuku Decora Gothic Lolita Cyber Punk GWEN STEFANI who introduced Americn fans to the colourful culture of Harajuku with her album “Love. Angel. Music. Baby.”. She later launched her co-designed high-end apparel line L.A.M.B., followed by a collection of casual wear and accessories called “Harajuku Lovers: A Fatal Attraction to Cuteness” based on playful street style designs taken from Harajuku fashion Poland freedom, no political
message involved

creativity

posed identities

lack of individuality (??)

lack of authenticity

West influences rebellion against authorities

political message

authenticity

uniformity

West influences FASHIONMAP,
Sophie Woodward George Simmel
Trickle-Down theory Ted Polhemus
Trickle-Up/ Bubble-Up Conclusion Sophie Woodward in her article “The Myth of Street Style” explains the phenomenon of street style, its appearance, and examines the relationship between the myth and the actuality of the style. The author based her article on a mass fashion observation (MFO) of young people in Nottingham which was focused on two key components: the documentation of fashions and styles at high street stores, and photographs of people taken on the streets and in bars. These photographs were collected over a four year period in Nottingham and tend to feature people between the ages of 18-26. Woodward’s concern was to study how looks are assembled by consumers in several different locations. In 1904, GEORGE SIMMEL first proposed Trickle-Down concept in terms of fashion perspectives conjecturing that “the elites set the fashions, which are copied by the lower classes or masses, producing a cycle of creation and innovation followed by imitation and modification”. In other words, the upper classes invent fashions to distinguish themselves from those below, remaining different from the wider group of lower classes. Jennifer Craik explains Trickle-Up theory in her book “Fashion: The Key Concepts” (2009) saying that “fashion impulses come from everyday, subcultural, or street influences and, once adopted by an influential set of fashion aspirants, get taken up by fashion industry proper”. TED POLHEMUS confidently confirms this theory in his book “Street Style” (2010) trying to convince the reader that genuine street style innovations come first. That could possibly be captured in a pop music video by kids in other cities or countries who pick up on the style and bring it to the streets. In a final stage, ending the cycle rather than beginning it, glamour versions of original street style ideas take a part of top designer’s collections. In other words, Trickle-Up fashion happens when something in the lower class group brings something unfashionable and the upper class adopts it making it into high fashion, and seen on the runways Biker jackets are a perfect example of Trickle-Up fashion. During Paris Fashion Week 2011 Christophe Decarnin was presenting 21st century punk look on his Balmain runway. Inspired by biker jackets, safety pins, studs, bleached jeans, shredded cut-offs and holey t-shirts, he created a look that the audience absolutely adored. This is fact that there is no coherent fashion mainstream, but agreeing fashion systems for different cultures, classes, lifestyles, age groups and areas. However, I believe it is true that street style lost its value in light of mass production, fast fashion and high street market. For instance, street fashion became plainer with all the influences of western markets which flooded Poland in recent years and also became gradually accepted in Harajuku. The trends powered by mass produced items today are just a poor attempt for being perceived as fashionably different. Rather than that they are just another form of uniform. Yet, there is no regime in guiding this process and the image of freedom in this case is rather distorted. Contemporary culture is full of “fashion kids” who are swallowed up by fast fashion cycle. Thus, what is truly different, it will not sell in the shops today. Consequently, we are at once fashioning the world and being fashioned by it. Fashion and celebrities go hand in hand to produce new styles which will further be copied by the masses. In this context wearing the latest style is no longer a privilege reserved for upper classes and fast fashion is an engine in this process. In further progression this occurrence has a huge impact on street style development. As most people cannot afford the original Owens or Robert Geller designs for example, they instead wait for equivalent pieces to come out from Religion or All Saints. In some cases however, it is not a matter of copying the original designs but simply ripping them off. American brand Urban Outfitters for instance is regularly accused of stealing Stevie Koerner jewellery designs and the shirt designs of Brien K. mass production

fast fashion

high street fashion Thank You!! An economic system based on a free market, open competition, profit motive and private ownership of the means of production.
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