Music And Fashion Trends example essay topic

Definitions Modernism AThe first facet or definition of modernism comes from the aesthetic movement broadly labeled "modernism". This movement is roughly coterminous with twentieth century Western ideas about art (though traces of it in emergent forms can be found in the nineteenth century as well). Modernism is the movement in visual arts, music, literature, and drama which rejected the old Victorian standards of how art should be made, consumed, and what it should mean. In the period of "high modernism", from around 1910 to 1930, the major figures of modernism literature helped radically to redefine what poetry and fiction could be and do. There was an emphasis on fragmented forms, discontinuous narratives, and random? seeming collages of different materials. A rejection of the distinction between "high" and "low" or popular culture, both in choice of materials used to produce art and in methods of displaying, distributing, and consuming art.

(Chris Baldock, The Concise Oxford Dictionary of Literary Terms [New York: Oxford University Press, 1991],'s. v.) Postmodernism Postmodernism is a rejection of the subject / object dichotomy and a celebration of the de structured, de centered, dehumanized subject. Postmodernism- A philosophical concept that allows the perceiver to perform analysis on any given text without the presupposition of bound ires, limits, or structures. In essence, postmodernism assumes hyper textual mediums which are inherently fragmented in nature. Simply, this mode of thought is a rejection of modernist structuralism. Instead of determining absolute truth, postmodernism seeks to achieve relative coherence. Postmodernism rejects the modernist scientific / methodological approach of binary opposition and instead, adopts the art of semiotics.

In short, postmodernism relies on arbitrary signs and signifies to produce a relative form of signification or meaning. Postmodernism can be closely related to the arts and modernism can be related to the sciences. In actuality, the two terms are polar opposites. Forum: 633: Definitions of Postmodernism web Eclectic The composition of something by selecting details and stylistic features from a wide variety of sources.

Nineteenth-century architecture, for example, was eclectic in its rather derivative adherence to the manners of bygone eras, as in Classical Revival, Gothic Revival, and the like. Postmodern architecture is more ironically eclectic, as in Charles Moore's Piazza d'Italia in New Orleans. Eclectic is composed or created by selecting the best from various styles, disciplines, systems, or the like: definition: arising from a breadth of choice: Eclectic- pronunciation key (ec- lek - tic) adj: selecting what seems best of various styles or ideas web Hybrid 'Hybrid' refers to something that is a mixture of different things (usually two), or something which results from 'crossbreeding'. 'Hybrid art' describes the work of both non-western and western artists who have a mixture of experiences which, in turn, introduce new aesthetics and themes. In hybrid art, both western and non-western cultural ideas, concepts and values come into contact, are exchanged and are mixed.

It is believed that new art forms emerge when different cultures integrate. web Zeitgeist The spirit of the age; the trend of thought or feeling in a period, esp. as reflected in its literature, art, etc. Definition: The word Zeitgeist is German and literally means "spirit of the times". It is used to refer to the general mood, trend, or style of thinking which is characteristic to some period in art. For example, the Zeitgeist of Romanticism can called sentiment or emotion. web Cultural pluralism Cultural pluralism refers to critical issues affecting the theory and practice of cultural diversity and cultural equity in contemporary society. It brings awareness of the challenges, contradictions and multiple strategies devised by cultural organizations addressing questions of cultural diversity and racial equity in practice, as well as strengthen their critical capacity for analysing organizational challenges, contextual contradictions and for formulating modes of intervention and strategies for change. Taking a historical approach, in various ways and specific places, the production and representation of difference as a mode of subordination was forged and resisted in the cultural context of colonialism.

It also evaluates current discourses on multiculturalism and culture, at the level of policy, programming and artistic practices. In a sense that, this course can be organized around the question: have contemporary discourses on multiculturalism and cultural pluralism transformed processes of subordination forged through colonial representations of difference? Randall Johnson, (1993) 'Pierre Bourdieu on Art, Literature and Culture' In The Field of Cultural Production: Essays on Art and Literature, Great Britain Columbia University Press pp 1-25 Deconstruction Deconstruction is a synonym for criticism, analysis, debunking, or commentary with an overtone of questioning motives, conscious or otherwise, for producing a work; occasionally it is simply a synonym for "destruction". The latter, everyday, meaning has a tenuous relation, if any, to the former, philosophical, meaning. The rest of this article focuses on the former, more narrowly philosophical sense of the term.

Elusive (a.) Tending to elude; using arts or deception to escape; adroitly escaping or evading; eluding the grasp; fallacious Image 2 image 2: Benstock, Shari, and Suzanne Ferriss, ed. On Fashion. New Brunswick: Rutgers UP, 1994. Image 3 Image 4 Image 5 The candy ass rock group is a prime example of a deconstructed fashion style Image 6 early purveyors of grunge, a major statement about the music industry of the early '90's but also a deconstruction of fashion Post modernism in fashion Fashion became increasingly playful in the 1980's, and postmodern, which left a mark on all aspects of art through the decade.

One of the most distinctive features of visual culture during postmodern times is the disaggregation and heteroglossia of dress codes and styles. The wide range and quality of fabrics, trims, colors, silhouettes, and particularly stylistic modes as well as the broad array of accessories spanning the spectrum from footwear and headdress to jewelry and hair style display an unprecedented openness and fragmentation in the history of post-Enlightenment Western clothing conventions. This is not to deny the existence of a fashion system complete with highly articulated rules and codes against which innovation, convention-breaking, revolt, re inflection, contradiction, and pluralization take place... Different styles during the l 960's and 70's of teddy boys, mods, skinheads, Rast as, and especially punks in relation to both the historical conjuncture of mainstream hegemonic culture and the contentious constellation of various male subcultural groups in England. In postmodern culture, youth styles often combine dress with argot, dance, and music, creating shocking ensembles set against the reigning symbolic order; style is a way of being and resisting.

This is evident in the image 1 (Madonna), she was constantly slipping in and out of images, which in tern became her trademark. The design in image 1 is seen as a contrast to the function of the design for the reason that there is no practicality in the clothing, the main function of Madonnas outfit is to create a shocked response from the audience and by doing this people will speak of the image that she portrays. She has an image of feminine masculinity of the 1980's woman, and her clothing, actions and movement gives off a sexual and controlled image. Her designs that she wears are complex and over the top to affect her fans to follow music and fashion trends.

There is ambiguity in the design for the very reason that fashion tends were mostly set by the pop stars and icons in the music and television industry and the clothing that Madonna wore could not be worn by your every day person, only by the eccentric out going person, and the ambiguity lies in the fact there was a small amount of her fashion followers, and therefore little sales of this style. Innovation in fashion is less a matter of creativity than of mutation and pastiche. Punk fashion, with its torn tee shirts, pink hair, safety pin piercings, necklaces of toilet chains, plastic pants with multiple exposed zippers, and mask-like makeup, effectively demonstrates not only the simultaneous systematic ity and disorganization of late twentieth-century dress codes, but the spectacular ized heteroglot visual culture characteristic of postmodern social regimes. There is little surprise in affirming that clothing and fashion are invariably connected with power, money, beauty, sexuality, and identity. (Refer to image 2) The design in image 2 Aesthetic criteria play an essential part in clothing design and evaluation. However much they shift, there are finely calibrated touchstones, standards, and ideals for beauty.

Whether at court or on the street, in the marketplace or at the ball, in the past or the present, dress exhibits both theatrical and performative dimensions. Fashion is typically staged in motion. Moreover, fashion's substances, particularly fabric, texture, design, color, and drape, highlight its materiality, which, significantly, opens onto long, intertwined histories of costuming and textile crafting. Every item of dress, no matter how humble, dignified, frivolous, or vanguard, occupies space in fashion archives and the history of aesthetics. This is evident in image two (punk fashion).

Self decoration is part of self constitution, body image, and identity formation. To look in the mirror is to glimpse the embodied self, but through normative grids related to nakedness and dress. We may be too thin, too fat, too short, too tall; out of proportion here or there; in need of this or that enhancement. To stare at the body is to envisage the self through the internalized gaze of others inhabiting subjectivity. Fashion mixes socially conditioned fantasy with self fashioning. Deconstruction in fashion Deconstructionism questions the rules and breaks conventions in fashion.

It includes putting seams and zips on the outside of a garment showing the inner construction workings of tailoring that in the past were the hidden features. It recycles old fashion and makes the undesirable part of dress such as a laddered stocking a desirable feature. Following its initial appearance in philosophy, architects began adopting deconstruction about two decades ago as a novel method of generating fashion designs and ideas. In image 3, the clothing worn are from the collection of Hoax.

The clashing of colours and fabrics-bright athletic knits with dark silk organza, coloured suede, perforated lace and patchwork quilting-surprisingly came together in a look that is distinctly deconstructed. Most models wore a wide array of Hoax layered separates, including elegant flowing chiffon dresses over athletic tees and red taffeta pants for women and extra-big wide-legged patched 'Raver' pants, lace-up suede shirts topped off with leather coats for men. Some of their more major trends revolved around deconstructed athletic wear, denim jackets, silk pants, parkas and leather coats. No item was safe from the deconstructing and designing talents of Chris Tyrell and Jim Searle (a former lawyer and a former architect respectively, it is no wonder they have such a wide style span with an enormous following). But if we must single anything out, it would have to be their signature corsets in sexy silks, brocades and velvets.

Form-fitting and shape-enhancing, they are so versatile and any occasion-elegant evenings to the theatre or a charity ball; a wedding; under a sleek business suit or even with denim and leather for a night out. Hoax is also famous for their creative fabric manipulation, and as the show progressed, there was a lot of ruching, knotting and bunching going on that their general silhouettes were creatively cluttered. Out-seams on pants and shirt bodices were destroyed and laced back together, giving the simplest fabrics a lot of texture and detail. Their ability to use fabrics to create unexpected details bring a lot of individuality to their designs. (Image 4) The Luna chicks (especially model and tattooed diva Theo Kogan) and L 7 were early purveyors of grunge, a major statement about the music industry of the early '90's but also a deconstruction of fashion. These days, bands like Candy Ass and the Toilet Boys work the trash-rock scene sporting originals from We Love Fine, a T-shirt company that does a lot more than just serve up a crew neck.

New groups like Chicks on Speed and the White Stripes inspire their fans to create warped looks all their own. The Riot G l movement is another example of the way a certain look can just go on and on. (image 5 and 6) We are living in a time of music-inspired fashion madness. It goes beyond Madonna's early-'80's Marisol crosses and rubber bracelets and has escalated into high style that is often made to order. Music has seeped into the fashion mainstream so much that it's hard to tell the pop stars from the kids on the street. The kids slam together glam, punk, disco, rap, new wave, grunge, and electronic styles to create original looks. Scenes ters everywhere favor the low-slung pants first brought to prominence by East Village revivalist Daryl K. And they all love Anna Sui.

Gwen Stefani and Eve currently represent the best of the new street couture savvy. They mix their looks with many moods, modes, and modulations. That mix can be seen on almost every young hipster working the street as well as every young designer working the runway. Music and fashion will always respect and inspire each other, because in both worlds it's all about being the fiercest and most original. In conclusion deconstruction is seen in all spheres of fashion, in the 1980's and runs throughout fashion to this day.

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