Amy D Gibson

An exciting first for me

2011-10-08T17:14:00.003+01:00

A garment I designed whilst on placement at Wallis is now available to buy online and in selected stores, CLICK HERE to go see! Here are the shiny press pics of it in all its gorgeous gothic glory...

Anglepoise

2011-09-21T12:43:00.003+01:00

Have just ordered this beautiful Anglepoise 1228. Classic British design, updated with a shade in my favourite colour. It was created by the brilliant product designer Kenneth Grange whose work you can currently see at the Design Museum exhibition 'Making Britain Modern'. After three years of making do with Ikea desk lamps, my final year projects DESERVE this lamp!

Image courtesy of Anglepoise.

Return to Leeds

2011-09-20T18:08:00.004+01:00

Back in Leeds for a final year of studying after a fantastic year in industry at Trendstop, Wallis and Topman. The weather has been mainly horrendous but I managed to get a few street style shots during the brief spells of sunshine at the weekend.

Yohji Yamamoto Show 01-07-11

2011-07-10T21:06:00.005+01:00

I was lucky enough to attend the Yohji Yamamoto Fashion in Motion Show on the first of the month. It was completely different to all the other shows I've ever seen; the models were real people and seemingly real couples, strolling casually, if a little nervously, down the centre of the Raphael Gallery. The clothes did not disappoint and were not merely a walking repeat of the current exhibition; lots of immaculately cut black on the girls and the men sported floral camo from a few seasons back and laid back block colour suits in pumpkin and peppermint. Once again a great event from the V&A!

Kenzo: Fashion in Motion at the V&A

2010-11-30T00:09:00.003Z

To see my full post (and more of my photos) for Trendstop from the Kenzo 40th Anniversary show have a look here.

Christopher Raeburn SS11

2010-11-29T23:40:00.007Z

So whilst searching for internship numero deux (now secured!) during the autumn months I visited various lovely designers at their studios and one of the friendliest was that of Christopher Raeburn. I spent an afternoon helping to stuff, sew and finish toy rabbits - the wire ears were quite tricky - to accompany the Spring/Summer 2011 collection, which I had a sneak preview of the following day. The pieces really got me excited - not only sustainable and eco-friendly but also covered in Navy battleship (yes really) inspired polka dot pattern in beautiful brights. I am seriously craving one for Spring.

London Street Style from Autumn...details

2010-11-29T23:02:00.008Z

For me, all of these looks are made by the details - interesting glasses, subtle matching of shoes with jacket against a very unsubtle printed shirt and a great splash of red across casual jersey basics.

London Street Style... and some sculpture

2010-09-27T23:28:00.003+01:00

The first two images above were used by Spanish Vogue Online for their Moda en la Calle (Street Style) London feature in association with the trend forecaster I am currently working for. Have a look at the rest of my shots that were used here.

Berwick St, London

Oxford Circus, London

Seale Hayne Sculpture, Newton Abbott

Some really great metal sculpture I saw recently at Seale-Hayne in Newton Abbot - you can wind a handle on the last one to make the soldiers march and the centipede was incredible! The old college has this year been bought by Dame Hannah and there is some great stuff happening there - well worth a visit.

123 Bethnal Green Road

2010-08-15T00:07:00.005+01:00

S U S T A I N A B L E F A S H I O N G E T S F I E R C E

And with a subject title like that, how could I resist the invitation to the launch of 123, the imposing, conveniently numbered new corner store of Bethnal Green Rd, just off Brick Lane. The part vintage, part re-constructed collection is distributed across three floors of the restored building and includes 123's own line and that of the well established green machine Noki. Sustainability is the main aim, with clothing that has been recycled, restitched and rethought playing a key role. Some of the attendees were dubious about the degree to which the offerings could be called sustainable (sourcing, labour standards etc) but in my book, any effort to slow fashion down a bit can't be bad. I found myself coveting more than a couple of the pieces - I recommend you get down there soon and show your support.

Spanish Vogue

2010-08-14T19:20:00.004+01:00

Haven't posted in far too long - been busy interning with a trend forecaster in London and haven't got the internet in my London pad yet - soon to be sorted. Been doing some street style - some of which got featured on the Spanish Vogue official website in the "Moda en la Calle: London Cool" section:

http://www.vogue.es/galerias/negro-y-camel/3963/page/0

Not had a chance to edit all the pictures yet but when I do I will get some of them up.

Street Style

2010-05-09T22:56:00.006+01:00

Some more shots I took for the new "Styling Leeds" site...find it on facebook for the time being.

The last one was taken in Miyuki-zoku, a new menswear boutique in the Corn Exchange. I loved everything in there and I wanted this sweater (with shirt sleeves) for myself. They also had some great one size graphic tees that I quite fancy! The two owners are so friendly and cool - go and visit them!

Street Style - my first paid job

2010-05-05T21:51:00.007+01:00

Got some work this week as a street style photographer for a new "Styling Leeds" site (coming soon) in association with Canvas8. You can currently see my photos by searching for Styling Leeds on facebook or clicking on: http://www.facebook.com/index.php?lh=fa6f178c27504809384d6579cfde1a31&#!/pages/Styling-Leeds/112428348794759?ref=ts

These are some of my faves!

Bernhard Willhelm and Sustainable Fashion Project

2010-05-05T21:11:00.007+01:00

These are some boards from my latest project. It was all about slow fashion, that is, how can fashion be made more sustainable and less throwaway? Answer 1 : Stop shopping in Primark et al. Answer 2: Buy clothes you LOVE. and only clothes you love. and that will last and last. My collection features cheerful colours (Mr Happy being a big theme for SS 2011) and multifunctional aspects such as surprising flashes of alternative print/colour that magically fold/roll up/out/down from nowhere and T-Shirts that are also games and top with motifs that change colour. Oh, and lots of fun pattern.

Burberry Street Style

2010-02-24T18:50:00.005Z

: The lovely Susie Bubble

So.Much.Fun! x

Burberry Prorsum Feb 23rd 2010

2010-02-24T18:16:00.005Z

Yesterday I went to the Burberry Prorsum show with three friends from fashion, it was spectacular. Rain poured down, both outside and inside, thanks to Christopher Bailey's projections on either side of the catwalk, which later showed live close-ups of the models as they strutted past Anna Wintour, Kate Hudson et al. I will never forget the sheer thrill in that tent as the first model emerged. Thigh high leather boots, body conscious satin skirts and dresses and military-inspired cadet jackets with super-chunky double and triple leather straps with buckles adorning the cuffs - just some of the highlights. Fur and sheepskin were used heavily and the necks were high and huge. A deep, rich magenta stood out as my favourite colour but others included intense mustard yellow, midnight blue and an abundance of army green, cream and black and white. It was truly beautiful, elegant and sexy. Afterwards I met Erin O'Connor - she was so friendly and told me about her recent documentary, "In Search Of Beauty" for BBC Radio Four. Twiggy was nearby and I got a few photos of my friends with her (and me with Erin). What incredibly down to earth women. And what an exhilarating day. Street style from the event to follow.

Good Karma

2010-02-19T21:32:00.006Z

Yesterday I had the best day...

Having returned to Leeds from Paris (and a weekend galavanting around London), I went back to London on Wednesday for an interview for a 6 month internship at Trendstop. Then yesterday I found out that I was successful! So I'm moving to London in July - can't wait. To top it off, I managed to get a coveted free ticket to the Burberry show on Tuesday...so excited! Now I just have to get down to some serious work - starting a new design project that is going to involve designing a sustainable/eco fashion line for Bernhard Willhelm. Love it already, getting excited about buying a new array of Pantone pens in brights!

Paris

2010-02-15T22:15:00.008Z

Have been terrible at posting recently, just had so much going on. Have been spending all my time applying for work placements/ getting prepared for interviews for my year in industry. I also had a trip to Paris this week, which was beautiful and inspiring. We went to Premier Vision (an incredible and huge textile show), the Palace of Versailles (see photos), a few exhibitions (Kris van Assche/ Matt Saunders at Galeries Lafayette and Versailles photography), the Sacre Coeur, and more designer boutiques than I can name (but I will...Galliano, Rick Owens, Chanel, Herve Leger, Miu Miu...!) Also found some brilliant shops such as Colette on Rue Saint Honore and Merci on Beaumarchais (may have bought some jeans there!).

There was a poignant undertone lingering for the whole trip following the news that Lee Alexander McQueen had ended his own life. At Premier Vision I took a quiet moment and found a British broadsheet obituary. I found myself very saddened indeed at the tragic circumstances surrounding his decision. He was a brilliant mind and a huge inspiration to me. I researched him a lot when working on my Dior essay, especially his controversial appointment at Givenchy, making him the second Brit designer to head a French Couture house. I would have loved to see one of his shows, they seem majestic and thrilling performances. My thoughts are with all of those who were close to him.

A Walk in the Cold

2010-02-06T16:58:00.006Z

December 2009: An icy walk with my brother

My New Talent

2010-02-06T16:55:00.002Z

Have discovered how to combine art and cooking...sushi! Taste as good as they look too.

J'adore Dior

2010-01-08T20:50:00.005Z

The House of Dior:
The Triumphs of 1947-57 and the Impact of
Galliano’s 1997 Appointment

1 Introduction

This essay will look at the House of Dior and how, during the latter half of the twentieth century, it evolved into the fashion empire that it is today. It will be paying particular attention to the periods 1947-57, the first decade of the business, and the late 1990s, following the appointment of John Galliano as Artistic Director. With respect to the first period it will also investigate the effect that the Second World War had on fashion and how the stage was set for controversy when Dior unveiled his first collection. Other causes of disquiet, during the careers of both designers, will be explored. Where Dior’s battle was luxury versus austerity, Galliano’s was about daring youth versus tradition.
The life of each designer prior to his overwhelming success will also be considered, to ascertain his inspirations and motivation. The two characters share many traits and had similar difficulties in getting the right exposure for their work, both experiencing financial hardship prior to their eventual success. They were both also exposed to theatrical fantasy at an early age. Dior was regularly taken to the local carnival by his parents and Galliano worked for a theatre company whilst studying in London and cites the experience as a key influence on his graduate collection. These artistic links may well have helped to develop the two highly creative designers.

2 i. The mood of Fashion prior to 1947

European fashion during the 1940s mainly revolved around the restrictions that were imposed as a result of the Second World War. Although the War ended in 1945, rationing of fabric continued into the latter part of the decade. In Britain, restrictions were not fully lifted until 1949 (Nunn, 2000). In France, the former fashion capital of the world, three million workers were striking in 1947; a quarter of a million in Paris alone (Pochna, 1996) and the structure of the entire country was damaged by governmental collapse, fuel shortage and food shortage. The strikes were mainly by labour unions and revolved around a wage freeze in a time of high inflation.
The general mood of the country was one of uncertainty and austerity and the fashion at the time reflected this. For women, silhouettes were boxy and masculine with padded shoulders and plain short skirts (using the minimum amount of fabric), usually in shades of green and grey. This silhouette was also the uniform style in Britain, where the Incorporated Society of London Fashion Designers was commissioned in 1941 by the government to create a range of clothing that met the strict guidelines for fabric usage. Only three buttons were allowed per garment and there were no turn back cuffs (Weston Thomas, 2000). Extra decorative details were certainly not allowed and skirts were approximately nineteen inches from the ground. The range of thirty-four designs was known as the Utility range and each garment was stamped “CC41” meaning Clothing Control 1941. Pattern no.33 from the range was a woollen suit comprising bloused jacket with square shoulders and a plain skirt (vam.ac.uk, 2010).
In America, where they had previously looked to Paris for new fashionable women’s clothing, they were forced to create their own new fashions. The clothing material shortage was not as great as in Europe but there were still some restrictions. A distinctly American style emerged, based on denim overalls, t-shirts, frilled cotton skirts and designs that resembled American Indian, Mexican and cowboy fashions (Nunn, 2000).
When the rationing of cloth continued in Europe after the war, many women began to feel frustrated and yearned for a change in style and a return to femininity. It was Christian Dior who first recognised this and did something about it.

2 ii. The Early Life and Inspirations of Dior

Christian Dior was born in Granville, France in 1905. His parents were wealthy and laid solid foundations for the young Dior, giving him plenty of inspiration in the form of visits to carnivals and access to his mother’s extensive garden. He soon developed an interest in drawing and clearly had talent. However, his wish to attend art school was not granted; his parents instead encouraging him to study political science at L’École Des Sciences Politiques in Paris. He agreed but did not throw himself into the course, preferring to explore the Parisian art scene and become friends with the likes of painter Christian Bérard, musician Henri Sauguet and writer Maurice Sachs (Pochna, 1996). Dior failed his exams and his father finally accepted defeat, offering the money to open an art gallery. However, a series of bad investments ruined his father in 1931 and what followed was a time of angst and hardship for the family. With no money and nowhere to live, Dior began to sketch again and managed to sell his work to some couture houses; according to Peacock, he spent the mid 1930s as a freelance fashion artist for newspapers and magazines (1993). Eventually, designer Piguet recognised his talent for design and hired Dior in 1938.
No sooner than his design career had begun, it was snatched away again by the onset of the Second World War in 1939. Dior took refuge with his family away from Paris and on his return found that he had been replaced, but quickly found a new design role with Lucien Lelong in 1942. His talent for design grew under Lelong but he wanted to take the lead and create his own company; Pochna describes how he “began to chafe at playing a subordinate role” (1996). In 1945, aged 40, Dior left Lelong and went in search of funding for a collection of his own. Powerful and influential textile businessman Marcel Broussac agreed to back Dior after an interview in which Dior used all his powers of persuasion. Work on the historic first collection began.

2 iii. The ‘New Look’ of 1947

“I have always regarded the exercise of my profession as a struggle against everything that is mediocre and depressing.” – Christian Dior

On February 12th 1947 Dior launched his first collection, the “Corolle” Line. It presented a completely new silhouette that comprised waspish waists, sloping shoulders, accentuated hips and full, swirling skirts. It was “the moment that was, temporarily at least, to change fashion with a suddenness never previously seen, and to set it on a course that proved irresistible to women” (McDowell, 1998). It was the return to femininity that post-war Paris had been waiting for, and yet it was met with fierce criticism and hostility. Marie-France Pochna describes the look as “femininity incarnate, flirtatious, voluptuous, a blend of the outrageous and the elegant, a true Parisian allegory” (1996). Outrageous is indeed the word; in the climate of rationing and oppression, the extravagant use of fabric was shocking and widely condemned as unpatriotic and immoral. There were several incidents in which women in Paris actually fought in the street, the poorer women attacking the wealthier ones and stripping them of their new Dior outfits (Pochna, 1996). However, Vogue described his ideas as “fresh and put over with great authority” (Vogue, April 1947 as cited by Watson, 2008). Overnight he became the new name in fashion and eventually the majority was won over by his luxurious and beautifully cut clothes. The iconic term, the “New Look” was coined by Carmel Snow, editor of Harper’s Bazaar in New York, who exclaimed in 1948, “My dear Christian, your dresses have such a new look”. The look was taken to Britain in 1948 where it was “greeted with enthusiasm by most women” (Byrde, 1986) although many government officials thought it too extravagant. Manufacturers managed to produce versions that used far less fabric than Dior’s original skirts (most of which required 15-25 yards of fabric) and therefore were not so expensive. Before long, the young Princess Margaret had adopted the look and even had old garments altered to fit the new silhouette; widespread acceptance quickly followed (Historic Royal Palaces, 2010).

2 iv. Dior’s Decade of Power

1947 was the year that Christian Dior became one of the most important names in 20th Century fashion. Unfortunately, his career was to be cut short just a decade later by his early death, aged just 52. However, what he achieved within those ten years was extraordinary and he proved himself to be not just a talented designer but an accomplished businessman and entrepreneur.
Following the widespread success of his “New Look”, Dior launched his second collection the following season which included the show-stopping Diorama dress. The mid-calf length skirt of the black woollen dress was a staggering forty metres in circumference and featured a plunging neckline with a tiny, nipped in waist. It pushed the New Look even further and exaggerated the curves of the female form. It was a great success and Dior was invited to America by Neiman Marcus, a high-end department store chain, to receive an award for his service to fashion. The trip was not without controversy; people met Dior with accusations about his clothes restricting women’s movement (Kent, 2003) but the anger resulted in lots of publicity for the designer and just a year later in November 1948 he opened his first American store in New York (Pochna, 1996).
The opening of Christian Dior New York was one of the most important moments of his career and marked the beginning of his move from fashion designer to businessman. He refused to let his designs be copied and came up with the plan of selling patterns to other manufacturers who would be allowed to use his name – for a price. He also began to launch perfumes such as Miss Dior (1947), Diorama (1949) and Diorissimo (1956) and then hats, shoes, bags and jewellery. He wanted a “Total Look” so that everything a Dior woman wore would fit together and compliment the outfit – right down to the perfume. It also meant that less wealthy women could buy into the brand aesthetic by purchasing an accessory with a far smaller price tag than the clothing. During the first five years of The House of Dior, half of the profits were made in the US. This success grew and, in 1954, Dior was “Alone responsible for half the exports of French fashion to the United States” (Pochna, 1996).
Later design triumphs included the wing-back décolleté that Vogue described as “a pure-wool sweep of immaculate structure” (Vogue, October 1948 as cited by Watson, 2008), the 1949 floor length cocktail dress with a spiralling skirt and off-the-shoulder neckline and the waistless “sack dress” of 1954. During the fifties Dior created three shapes named A, H and Y-line, each based on the shape of the letter by which they were called. The sack dress was part of the H-line which also featured “slender tunic suits with slim skirts” (Weston Thomas, 2009). Although the sack dress was widely disliked by men, women loved the freedom of movement that it gave them and it arguably evolved into the ubiquitous shift dress in the 1960s, refined by Mary Quant.
Dior’s good business sense also extended to the recognition of new talent. He was not guarded about publicising or boosting the careers of his protégés, including Yves Saint Laurent, Marc Bohan, Roger Vivier (shoe designer) and Pierre Cardin. Saint Laurent would become Artistic Director after Dior’s death, followed by Bohan three years later.

3 i. John Galliano in the 1990s

John Galliano, a Gibraltarian British fashion designer, launched his first collection in 1984 with his graduate show at St. Martin’s School of Art in London. The collection, entitled “Les Incroyables”, was based on dandies of the French Revolution. Galliano was fascinated by these historical characters for the way in which they provoked outrage with their shocking attire. Here the first comparison can be made with Dior in that Galliano seems to admire those who dare to shock and cause outrage, as Dior did in 1947. Galliano spent long hours researching the work of Vivienne Westwood and her many subversive and rebellious designs. Fashion writer Iain R Webb said, “His research of things is immense...the experimentation of looking back, mixing history with modern fabrics...had it not been for Vivienne Westwood, I don’t think that we would have had John” (transcribed from British Style Genius, 2008). Other inspirations included the New Romantic club scene in London’s Soho, research trips to far flung destinations such as India and Africa and his experience working for a London Theatre company, where the costumes were often worn inside out and history and fantasy were combined.
Galliano’s entire collection was bought by Joan Burstein, owner of Brown’s Boutique in London. He managed to secure some financial backing and began to show in London, winning British Designer of the Year in 1988. However, like Dior, Galliano would struggle a great deal before having any long lasting success. Speaking on British Style Genius he said, “When your back’s against the wall, you become really creative, don’t you, and that has always stayed with me” (2008).
At the start of the 1990s, after his backers had pulled out, Galliano began to show in Paris with the little money he had left. He was flat broke and sleeping on friends’ floors (Design Museum, 2001) and eventually had to skip a season in 1993. Anna Wintour, Editor of US Vogue, describes the situation: “His company was in such financial dire straits...we were able to put him in touch with various people who would eventually become his backers” (British Style Genius, 2008). With Wintour’s support Galliano made a last ditch attempt to save his career by putting on a show in Paris. Friends rallied around including models Kate Moss and Naomi Campbell, who waived their normal show fees, and wealthy customer Sao Schlumberger lent her crumbling gothic mansion as a venue. The only fabric Galliano could afford was cheap black lining fabric, but from this he created inspired garments. Stephen Jones, the friend, fellow New Romantic and milliner who created the hats for the show, recalled, “They showed fifteen or eighteen outfits or something like that, but they were fifteen or eighteen perfect outfits” (British Style Genius, 2008). Many of the outfits included little black slip dresses, cut on the bias, which behaved like a second skin, shifting and fitting to the body as it moved. Anna Wintour described it as “one of the defining collections of our lives” and commented that as a result, “for the next ten years, and even today, women went out in a slip dress” (British Style Genius, 2008). It was Galliano’s “New Look” moment and although it did not cause the same outrage as Dior’s, it sparked similar excitement and enthusiasm throughout the fashion media.
The show was a sensation and brought Galliano to the attention of Bernard Arnault, owner of Louis Vuitton Moët Hennessy (LVMH), the luxury goods conglomerate that incorporated the Houses of Givenchy and Dior. Givenchy needed a new Creative Director and they were looking for a new, young designer who would bring credibility and publicity back to a fashion house that had become “rather staid and dull and not going anywhere” (Colin McDowell, transcribed from British Style Genius, 2008). It was now time for Galliano to bring about some controversy.
3 ii. At Givenchy and Dior

It was 1995 when Arnault appointed Galliano Artistic Director at Givenchy. He was the first British designer to lead a French fashion house since the Second World War and many Parisian couturiers were fuming; they thought he was too young and a “wild English punk” according to Stephen Jones (BSG, 2008) but his creativity and talent created great publicity for the House and his willingness to be radical and to take risks had paid off (Hilary Alexander speaking on British Style Genius, 2008). His first collection for Givenchy had a hint of Latino theme and did not scream Galliano, but respected the traditions of the haute-couture house. It included exotic oriental silk jackets, delicately coloured knits and “ruffled polka-dot dresses, long knit wrap cardigans with lean pants beneath and tidy little suits with bow pockets” (Spindler, 1996). It was a quiet success.
Galliano had proved himself in what had, according to Amanda Harlech (his stylist and friend), been an “extended audition” for the top job at Dior: Galliano’s ideal role (Amanda Harlech speaking on British Style Genius, 2008). Bernard Arnault moved Galliano to the highly influential house in 1996 and Galliano showed his first collection for Dior in January 1997, exactly half a century after Dior had debuted the “New Look”.

The Spring/Summer 1997 Haute Couture collection was a visual spectacular. Galliano had pushed the ateliers to the best of their abilities and instead of playing it safe, as he arguably had at Givenchy, he let his imagination run wild. Shadowed beading echoed charcoal sketching on an Art Deco dress, an embellished dress in nude gave the effect of beaded tattoos and, “he continually referred to Dior, from the perfectly cut houndstooth suits to the grand bustled ballgowns, with yards of tulle and organza” (Spindler, 1997).
It cemented Galliano as one of the most important designers of the century and silenced the critics in Paris. In addition, the clothes actually sold, across all lines. “Sales of women’s ready-to-wear clothing increased four-fold at The House of Dior after John Galliano came to the company in 1996” (Kent, 2003, p.93).

4. Conclusions

· Dior and Galliano each experienced financial difficulty during the early part of their careers but went on to create some of the most important and exciting fashion shows of the century. Each man had to face the choice between fight or flight and each was strong enough to fight.
· Both Dior and Galliano created controversy; Dior most notably with his outrageous use of fabric in a time of rationing and Galliano as a young, British, maverick designer taking the top job at a French Couture House, not once, but twice. Both designers recognised that any publicity is good publicity and both used the controversy to their advantage.
· Where Dior had invented, Galliano reinvented. The House of Dior was built into a globally successful fashion empire by Christian Dior and his successors – Yves Saint Laurent, Marc Bohan, Gianfranco Ferre – continued this success for many years. However, the House had become predictable and was in need of a new New Look – Galliano proved to be the right choice for the job. It must also be noted that Galliano did not merely reinvent – alongside his collections for Dior he also creates women’s and men’s collections for his own John Galliano label each season. These really push the fashion boundaries and allow him to express every new idea and avant garde theme under his own name. This may be an important component of Galliano’s continuing success; his fantastical designs that demand a huge amount of skill, time and money are perfectly placed in his Dior haute couture line whilst his more youthful and outrageous ideas can manifest themselves within his own lower-cost line, within financial reach of those most likely to wear them. This prevents him becoming frustrated within either role and keeps his business thriving.
References

BYRDE, P. 1986. A Visual History of Costume: The Twentieth Century. London: Batsford.
British Style Genius, Episode 3, Breaking The Rules: Fashion Rebel Look. 2008. BBC2. 21 October. 21.00 hrs.
Design Museum Website. 2001. John Galliano [online]. [Accessed 5 January 2010]. Available from: http://designmuseum.org/design/john-galliano.
Historic Royal Palaces. 2010. The Glamour Years [online]. [Accessed 5 January 2010]. Available at: http://www.hrp.org.uk/KensingtonPalace/theglamouryears.aspx
KENT, J.C. 2003. Business Builders in Fashion. London: The Oliver Press Ltd.
MCDOWELL, C. 1998. Galliano. London: Cassell Paperbacks Ltd.
NUNN, J. 2000. Fashion in Costume 1200 – 2000. 2nd Ed. London: Herbert.
PEACOCK, J. 1993. 20th Century Fashion. London: Thames & Hudson.
POCHNA, M-F. 1996. Dior. London: Thames & Hudson.
SPINDLER, M. 1996. Givenchy in the Galliano Era: Clean Looks, Few Surprises. The New York Times [online]. [Accessed 5 January 2010]. Available at: www.nytimes.com/1996/03/18/style
SPINDLER, M. 1997. Among Couture Debuts, Galliano's Is the Standout. The New York Times [online]. [Accessed 5 January 2010]. Available at: www.nytimes.com/1997/01/21/style
Victoria & Albert Museum. 2010. Utility Suit [online]. [Accessed 5 January 2010]. Available at: http://www.vam.ac.uk/images/image/59340-popup.html
WATSON, L. 2008. Vogue Fashion: Over 100 Years of Style. London: Carlton
WESTON THOMAS, P. 2009. Utility Clothing During Rationing [online]. [Accessed 2 January 2010]. Available at: http://www.fashion-era.com/utility_clothing.htmWESTON THOMAS, P. 2009. 1950s Glamour [online]. [Accessed 3 January 2010]. Available at: http://www.fashion-era.com/1950s_glamour.htm

Written by Amy Gibson 2010

Illustrations

2009-12-09T12:19:00.004Z

These are some of the illustrations I drew for my final collection for the Rick Owens project. They were inspired by the stage make-up of Leigh Bowery/Klaus Nomi and the trend Techno Rationalism that our group created for A/W 2010/11.

Rick Owens project boards

2009-12-07T14:05:00.003Z

Above: customer profile for Rick owens project.
Below: mood board for our developed group trend, 'techno rationalism'.

Rick Owens Project - Flat Drawings

2009-12-07T13:57:00.004Z

These ten menswear outfits are the capsule collection that I have created for the latest design project. They are aimed at Rick Owens' customers and I will be creating illustrations for the project too.

Customer and Brand research

2009-12-07T13:54:00.002Z

Colin McDowell

2009-11-25T18:32:00.002Z

This morning we had a lecture given by none other than Fashion Historian and Journalist, Colin McDowell. I have to admit to being fairly star-struck by this man. He is one of those rare people who talks nothing but sense and whose every sentence brings new pearls of wisdom. I hung off his every word and was astounded by his refreshingly honest opinions (which frequently had the entire theatre in stitches). He was also very friendly and warm; after the lecture I asked him for some advice on pursuing a career in Fashion Journalism and he was helpful and encouraging, even saying I could mention his name when applying for placements.

More to come when I am home from Uni this evening.

I Like To Make Things

2009-11-23T00:11:00.003Z

Made this card for my friend Harriet (Happy Birthday Harriet!) from red lace and a magazine cut-out...don't think my sewing machine appreciates me using it to sew card though...oops!

What Style Means To Me

2009-11-22T17:20:00.005Z

Last night I went to a party and every person I got talking to about my degree wanted to know what I think my style is; what do I think is fashionable; what is important to me about style? So I got thinking, and here is my response.

For me, style is not about wearing what other people are wearing. It is not about buying and wearing a garment because it was a bargain in the sales, nor because it cost two month’s wages. It doesn’t involve wearing this season’s colour, matching my shoes with my handbag, or having beautifully manicured and polished nails every time I leave the house. In my opinion, one can buy fashion but one cannot buy style.

As a fashion student, I like to look like a fashion student. In my mind, this means edgy, rebellious, eclectic, aloof and fearless. I’m not so good at the latter pair. However much I might love a particular garment, I always remain slightly wary of it after having received negative remarks about it from a stranger on the street (even if he was wearing socks with sandals). Because for many, clothes are about fitting in. They are a uniform, a signifier of status, an indication of lifestyle and a reassurance of mental stability. But for me, fashion is about expressing creativity. I always have an extra spring in my step on days when I manage to combine clothes, accessories or makeup in a totally new way. I like it when an outfit is effortless and yet it just works. Often I think that when those magic outfits appear in the mirror I should make a note; scribble a sketch or take a photograph to remind myself in two weeks, but then I remember that part of the rush is the spontaneity; the fact that I have never worn it like that before.

I use the word ‘stylish’ as a compliment sparingly, and only when I mean it. Although I may think a dress is lovely or suits the girl, there is often a je ne sais quoi that is missing from the ensemble; it is all just too predictable. And there we have another key point. Style, for me, is about daring to be different. The twist. The clash. The extreme. However, remaining individual is in itself a constant challenge. The relentless tug of war between mainstream and subculture fashion dictates that everything underground will eventually bubble up to the surface. Once a commercial company latches onto a new idea, it quickly loses its appeal to those who prefer to be apart from the crowd. So those people are forced to invent new ways to be unique.

I think that people who work for designers/brands can easily become fashion victims and the ready availability of designer garments can cause someone to lose all shred of originality and creativity within their outfit choices. I hope that a label will never determine whether I buy a garment. I prefer to rely on “Is it amazing?”, rather than “Who is it by?”

Whenever I read a fashion magazine I treat it in the same way that I treat a plate of yaki udon at Wagamama. When the sadness of the final mouthful arrives I am always comforted to find that I have saved a fat, juicy king prawn until last. And the most exciting and inspiring part of the fashion magazine for me is always the editorial photo shoots. Whether it has been shot in a far flung location or against a white studio backdrop, a good one will always get my imagination racing. Prints, shapes, textures, embellishments and a myriad of design details all thrown into a cauldron for me to mix together and conjure new looks. The more chaotic the better, as far as I’m concerned. Like the catwalk, I see these pages as a place for pushing fashion as far as possible; for seeing what can be visually achieved with what the designers have created this season. It doesn’t matter whether or not the outcomes are practical, beautiful or comfortable because the images become pieces of art and stimulus for alteration and transformation of many a tired wardrobe.

S2VS | at ASOS

2009-11-18T21:36:00.002Z

S2VS | at ASOS

Love this t-shirt....stripes plus panels = yum. And I like the dropped armholes of the waistcoat too...feeling inspired. Somebody give me a fineliner.

I Wish I Were A Man

2009-11-17T22:52:00.001Z

I have just been browsing through current Menswear SS2010 collections (trying to find extra inspiration for my design development project) and have stumbled upon John Galliano's show. Had totally forgotten how brilliant it is. It makes me want to work for him so much.

It's Saharan-ethnic-tarzan-sport-chic. The models had super tanned faces, some wrapped up in bulky turbans, others veiled in sheer fabric or adorned with floral headdresses. The guy-liner was heavy and reminds me of Egyptian pharaohs. Trousers were loose, even billowing on occasion and often covered in cargo pockets and the odd mass of sequins. Multiple belts snaked around waists, sometimes holding crumpled shirts in place and ornately decorated waistcoats smartened the aesthetic.

In general, it reminds me of being in India and all the amazing patterns, textures and colours...also walking round in hugely oversized silk Afghani trousers (around Rs200 a pair), and noone batting an eyelid. Oh, to do that in England.

The only thing I'm not too enthusiastic about is the "Galliano" print...I'm never a fan of designers plastering their name across garments; I think the design should speak for itself. I also think that it encourages copycats and fakes, making the look even more tacky. But I suppose there will always be customers who want to advertise to everyone exactly how much money they have spent on becoming a walking billboard.

Images from Socialite Life and Fashion Indie. See Vogue.com for full collection and show video.

November 14th, Leeds City Centre

2009-11-15T18:51:00.000Z

Hats! Took these on stormy Saturday afternoon in the Victoria Quarter and on Albion Street. I like the casual look combined with smart shoes and the second guy caught my eye with his plain gloves and fun bobble hat.

Sleeves and Shoulders

2009-11-12T18:53:00.001Z

Today I conducted some research into sleeves and shoulders that interest me. Feeling very inspired to go and do some more drawing now.

From top: drawing by Richard Haines, zip up sweater by Dior Homme, Graduate Show piece by Holly Fox-Lee (CSM BA Print), Graduate piece by Kim Choong-Wilkins (RCA MA Menswear).

Luella Bartley Ceases Trading

2009-11-11T01:08:00.000Z

http://www.guardian.co.uk/lifeandstyle/2009/nov/10/luella-bartley-ceases-trading-closure-fashion

More recession gloom - Luella's financial backers have pulled the plug. This is a worrying time for fashion. Success doesn't seem to have much bearing on which designers lose the financial battle (Yohji Yamamoto?!). We had another visiting lecturer today - Colin Wolfenden - who is a menswear designer. He is currently working as a freelance consultant for BMB Clothing in Leeds but two years ago he had his own label, Bent & Corrupt, which was sold in Harvey Nichols and Selfridges. He described it as the most exciting thing he has done to date and talked about how much he loved the freedom of being his own boss. Financial difficulties, especially with UK sourced raw materials, meant the company was closed after three years. I am glad I have two and a half more years of studying; hopefully the economy will have picked itself up a bit by 2012.

beautiful video

2009-11-10T23:49:00.001Z

http://www.youtube.com/watch?v=2_HXUhShhmY

A beautiful music video for your enjoyment.

Minimum Inventory, Maximum Diversity

2009-11-09T19:37:00.001Z

This assignment (for our Design Theory module) half killed me and my eyes started going funny several times. We had to create two tiles (a square and a hexagon) and cut them up into sub-tiles, then rearrange these to create repeating patterns. My colour palette was inspired by the 2012 Olympics and my end-use was London Underground seats.

Garment Research is Torture

2009-11-08T18:19:00.000Z

I love clothes, so every time I go into shops to do "primary research" (taking pictures in changing rooms for my Garment Technology module research boards) I end up having to tear myself away from things like this:Hussein Chalayan dress for less than £200!
Also this Elizabeth Emanuel coat for under £100:

Modern & Traditional

2009-11-08T17:56:00.000Z

This place has intrigued me ever since I moved to Leeds just over three years ago. As you will see, it used to be a men's hair salon but it looks like one day it was suddenly closed down and abandoned. Everything inside looks untouched since that day; it is like a museum replica of an old fashioned Barber Shop. I wish I could get inside to take some proper shots!

Favourite parts of my photos include the pink sinks, the desk fan and the (usually irritating) lack of apostrophe in 'Franks'. Oh and 'Mens' too! I also want to give that coat stand a good home.

Briggate, Leeds, Nov 8th

2009-11-08T17:54:00.001Z

I love this coat.

RCA Fashion Show 2009

2009-11-08T01:04:00.001Z

This year I managed to get to the Royal College of Art MA Fashion Show. It is the best possible graduate show for a menswear student like myself to see because the work is so futuristic and out-there and INCREDIBLE. Of course, the RCA has produced so many talents; Aitor Throup is my favourite of the recent big names. I bought the programme, which is hardly a programme and more a 100 page bible of current fashion. I also took photographs but unfortunately my D-SLR was poorly so my compact had to try its best. Here are some of the better shots:

Graduate Menswear Designers this year were Jasper Sinchai Chadprajong, Keith Gray, Mason Jung, Luis Lopez-Smith, Bronwen Marshall (my favourite collection - top three shots), Alex Mattsson, Matthew Miller, Jae Wan Park, Charlie Ross, Simon Shilton and Simon Travers Spencer.

halloween

2009-11-07T22:12:00.000Z

This Halloween I was lucky enough to have TWO opportunities to get creative! Outfit one was a MAC inspired Madame mask and the girls and I went for black and white theme with checkerboard/spots/stripes. The second night I donned my fang-print dress and painted my face like a wolf. I wish Halloween was more than once a year!

Photography Project Year1

2009-11-07T18:00:00.000Z

As part of my course I took an elective in Digital Photography. We were given the title "SEVEN DEADLY SINS" and told to come up with a series of seven photographs. I decided to stay as far away from the badly-acted portrait cliches as possible and instead selected the humble egg as my subject. These were my results:

PRIDE

GLUTTONY

GREED

WRATH

ENVY

SLOTHLUST

Mr Klein

2009-11-07T17:32:00.000Z

This week our 20th Century Fashion lecture was given by none other than fashion icon Roland Klein. The French designer has worked in French couture, at Dior, Lanvin and Jean Patou as well as designing his own RTW line. He named his biggest inspiration as Yves Saint Laurent, whose mantra of "style over fashion" has stuck with him. Klein attended the same fashion college as Saint Laurent and as couture houses sponsored the college, they both found themselves working in couture when they left.

Apparently, couture is all about the craft. At the house of Dior, Klein spent a year sewing the lining in the ends of sleeves, and nothing else. It was frustrating, but it taught him how important the construction was.

He explained to us that couture was incredibly extravagant and often customers would order the exact same outfit three times each season. If customers lived too far away to come for regular fittings then a one-off mannequin of their exact measurements would be made up.

He showed us images of his commissioned designs, including uniforms for British Airways, British Telecom, Halifax and Midland banks and many outfits for the late Princess Diana including THAT backlit dress and a daringly short number.

Klein came across as incredibly intelligent, savvy and friendly. He was witty and engaging and his stories of "the real Karl Lagerfeld" (with whom he worked for many years) were fascinating. He revealed that underneath the famously cold public front is a nervous man; a man who emerged from an early show fraught with worry about everything being wrong. Klein also talked about Lagerfeld's generosity with his knowledge and experience. I couldn't help but think that this is also true of Klein; I was expecting a typical "fashion" personality, perhaps aloof, perhaps a "seen it, done it" attitude, but his charisma, passion and enthusiasm were overwhelming. Straight-talking too - especially about Naomi Campbell and her unprofessionalism!

Finsk

2009-10-15T23:38:00.000+01:00

Maybe I'll do a masters in Shoe Design. These make me get all excited. Finsk aka Julia Lundsten = my favourite new footwear designer. I definitely have a thing for architectural heels. Only three small problems; they would make me approximately 6'3"; how on earth will I walk in them? and still no sign of my student loan. Time for some EBAY?

Customer Profile Research

2009-10-15T22:44:00.000+01:00

Have been working solidly on my Digital Design and Research and Design projects this week. The image above is my draft for the customer profile board; each image represents something that Rick Owens has said about his customer (except the Le Corbusier architecture - Owens names Le Corbusier as an influence) e.g. a practical attitude, intelligence, past flamboyance, anonymity, experience of joy and damage... need to add more images and some text then neaten it up. Loving Photoshop CS4 though!

I Give In!

2009-10-04T14:27:00.002+01:00

All this research into Rick Owens' leather clad beauties has given me an itch that I just had to scratch. Plus, IT'S COLD!! Justification, I think so. SS 2010 - white witch with a tough edge. Scarytale Glam. But I am a student, so for now, Mr Owens, I'm saving my pennies. High street will have to do. And do it does indeed...thanks to ever blossoming brand Zara. Their 'Basic' line is brilliant - it makes me wish I had an office job just so I could dress up smart in pencil skirts and dark sheer blouses. Here is what I will be wearing relentlessly for all of autumn:

3 items improving my day

2009-10-04T14:27:00.001+01:00

Muji = brilliant. I don't think I will ever stop using their fineliners. Went in there yesterday to buy a new 6-pack and couldn't resist this watch. It's so much lighter than the oversized mens' watch that I've been wearing recently and it's grey, my current favourite colour. I love that everything in Muji is sleek, simple and practical. Finally, 10 men. <3

Rick Owens

2009-10-03T12:51:00.000+01:00

This week we were set our first Research and Design project for the year and we were assigned a designer for whom we will design a capsule collection at the end of the project. It was totally random but I crossed my fingers tight and was rewarded with Rick Owens. I have been aware of him for a while but now that I have done some more research I am falling in love. As if by magic, two of my favourite magazines, 10 Men and Bon, have interviews with the man himself in their current issues. At the moment I am working on his inspirations. From trawling through the interviews and various books on my shelf I have ascertained that these include: the band Kiss, furniture designers Jean-Michel Frank, Le Corbusier, Oscar Niemeyer, Piero Portaluppi, David Bowie's 'Diamond Dogs' artwork, Thierry Mugler's 'Metropolis' collection, sculptor Constantin Brancusi, artist Andrei Molodkin, performance artist Leigh Bowery and drag queen legend Divine.

I like that Owens comes across as not taking himself too seriously. He doesn't mind admitting that at times his opinions are hypocritical and his philosophy reads: "A million years from now no one will care so get over
yourself." He appreciates where he is and what he has.

As for the clothes, I cannot wait to start designing. There is glamour, but it is corrupt. There are luxury fabrics but often they are aged, washed, worn. The colour palette projects dignity, anonymity and elegance but suggests rebellion. I have chosen to specialise in Menswear this year so I am excited to move away from the predictable high street silhouettes and onto something a little anti-establishment, or as Rick Owens describes it, "techno-biblical rationalism".

SS 2010 Rick Owens

2009-10-03T00:18:00.000+01:00

Post number one. Hi! I am a second year Fashion Design student and I have decided to start recording things I do and discover and admire in the worlds of fashion, photography, art, graphic design, advertising, architecture, product design...you name it...in a humble blog. I'm going digital!

Yours Truly, Amy