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New Frameworks in Deconstructivist Fashion

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New Frameworks in Deconstructivist Fashion New Frameworks in Deconstructivist Fashion: Its Categorization in Three Waves, Application of the Notions of Plasticity, De-design and the Inclusion of Bora Aksu and Hussein Chalayan as the Third Wave Turkish Deconstructivist Designers Gizem Kızıltunalı A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy The Manchester School of Art MIRIAD Manchester Metropolitan University August 2017 Contents Abstract……………………………………………………………………………………4 Acknowledgements……………………………………………………………………5 List of Figures……………………………………………………………………………6 Introduction…………………………………………………………………………….16 Literature Review……………………………………………………………………..30 Methodology…………………………………………………………………………….64 Chapter One: Theoretical qualities of deconstructivist fashion design ……………………………………………………………………………………………….73 Chapter Two: Observing plasticity, the de-designs and deconstructions of the first wave Japanese and the second wave Belgian deconstructivist designers …………………………………………………………88 Chapter Three: Third wave Turkish deconstructivist designers: Hussein Chalayan and Bora Aksu.…………………………………………………………..159 Chapter Four: The de-designs and deconstructions of the third wave deconstructivist designers: Hussein Chalayan and Bora Aksu..………170 Chapter Five: Commonalities of the third wave Turkish deconstructivist designers: Metamorphosis of the fashion system, deconstruction through culture………………………………………………………………………..244 Conclusion……………………………………………………………………………….365 Bibliography…………………………………………………………………………….376 Fashion collections……………………………………………………………………395 Interviews Appendix 1 Bora Aksu……………………………………………………………….397 Appendix 2 Beral Madra…………………………………………………………….404 2 Appendix 3 Martin Margiela…………………………………………………………406 3 Abstract This thesis analyses deconstructivist fashion in a wider framework: from the ways it is defined and its designers. Arguing against positions that classify both material and conceptual features within the single area of ‘‘deconstructivist’’ fashion, it proposes Malabou’s plasticity as an additional methodology to Derridean deconstruction. By utilizing Malabou’s plasticity and introducing the concept/process of de-design(ing), the project claims deconstruction to be a twofold process: 1.The technical de-designing of a garment 2.The conceptual deconstruction caused by the de-designed garment. In terms of its designers, the thesis applies these two processes to the unconventional garments of what it classifies as three different waves of deconstructivist fashion: Japanese, Belgian and Turkish. The thesis also proposes the emergence of a third wave deconstructivist fashion by focusing on the unconventional designs of Bora Aksu and Hussein Chalayan. To study these designs of the third wave and further examples of the previous two waves, the thesis utilizes designer and curator interviews, observation of Turkish local wears and motifs and garments displayed on exhibitions and fashion shows as primary research. The thesis focuses on the concepts of transformation/metamorphosis and culture to establish links between the third wave and the first and second wave designers as well as within the third wave itself. Further, it studies the garments of deconstructivist design from a wider framework, which positions the thesis closer to a cultural studies approach. 4 Acknowledgements My sincerest gratitude and appreciation to my family and Aksel George Epik, who will forever be blessed with the difference he made in my life… With Great Patience… 5 List of Figures Fig. 1. Rabanne, Paco (1967- 1970), Metal-link Shift Dress. Manus x Machina (2016), The Metropolitan Museum of Art. Photo by Gizem Kızıltunalı Fig. 2. Cardin, Pierre (1966 – 1969), PVC Boots, Retrieved February 11, 2015 from http://collections.vam.ac.uk/item/O139785/pair-of-boots-cardin-pierre/ Fig. 3. Schiaparelli, Elsa (1938), Spring/Summer, Circus Collection. The Skeleton Dress, Retrieved June 12, 2014 from http://www.pinterest.com/pin/64739313369135613/ Fig. 4. Schiaparelli, Elsa (1951), Dress with a Lump, Retrieved January 17, 2012 from https://www.pinterest.com/pin/471822498437539950/ Fig. 5. Margiela, Martin (1997-1998), Autumn/Winter, Semi-Couture Collection. Across Art and Fashion (2017), Salvatore Ferragamo Museum. Photo by Gizem Kızıltunalı Fig. 6. Yamamoto, Yohji (2009), Spring/Summer Collection, Unravelling Stitches, Retrieved May 2, 2013 from http://untitledblogproject.tumblr .com/post/33760107563/lamodeasauvemavie - yohji-ss07 Fig. 7. Margiela, Martin (2001), Spring/Summer, Artisanal Line. Garment Made from Old Gloves, Retrieved January 15, 2015 from https://www.pinterest.com/pin/471822498437743354/ Fig. 8. Margiela, Martin (2006), Spring/Summer, Artisanal Line. Jacket Made of a Swiss Army Bag, Retrieved January 15, 2015 from https://www.pinterest.com/pin/471822498437743413/ Fig. 9. Margiela, Martin (2005), Autumn/Winter, Artisanal Line. Cape Made Out of Wool Hats, Retrieved January 15, 2015 from https://www.pinterest.com/pin/471822498437743413/ Fig. 10. Kawakubo, Rei (1982), The Black Wool Sweater, Retrieved January 30, 2013 from http://collections.vam.ac.uk/item/O73390/jumper-kawakubo-rei/ 6 Fig. 11. Margiela, Martin (1997), Martin Margiela (9/4/1615), Rotterdam Gallery. Retrieved April 1, 2012 from http://katsoul11.blogspot.co.uk/2013/04/art-fashion.html Fig. 12. Kawakubo, Rei (1997), Spring/Summer, Body Meets Dress Becomes Body Collection. Across Art and Fashion (2017), Salvatore Ferragamo Museum. Photo by Gizem Kızıltunalı Fig. 13. Kawakubo, Rei (2012), Autumn/Winter Collection, Dress Revealing the Seams, Retrieved May 2, 2013 from http://thecuttingclass.com/post/23541997957/2nd- dimenion-at-comme-des-garcons Fig. 14. Cindy Sherman for Comme des Garçons (1994), Retrieved January 8, 2014 from http://creaturesofcomfort.tumblr.com/post/21897308055/cindy-sherman-for- comme-des-garcons-1993 Fig. 15. Stephen Shanabrook for Comme des Garçons (2010), Retrieved December 10, 2014 from http://www.pinterest.com/pin/241083386276574803/ Fig. 16. Stephen Shanabrook for Comme des Garçons (2010), Retrieved December 10, 2014 from http://www.pinterest.com/pin/339810734356654159/ Fig. 17. Yamamoto, Yohji (2009), Autumn/Winter Collection, Drapes Creating Artificial Space, Retrieved January 23, 2013 from http://uk.phaidon.com/agenda/design/picture- galleries/2011/march/14/japanese-designer-yohji-yamamoto-is-drawing- attention- in- london/?idx=7&idx=7 Fig. 18. Yamamoto, Yohji (1991-1992), Autumn/Winter Collection, Across Art and Fashion (2017), Salvatore Ferragamo Museum. Photo by Gizem Kızıltunalı Fig. 19. Miyake, Issey (2011), Autumn/Winter Collection, Origami Influenced Design, Retrieved August 1, 2013 from http://www.vogue.co.uk/fashion/autumn-winter- 2011/ready-to-wear/issey- miyake Fig. 20. Miyake, Issey (n.d.), Pleats Please Line, Retrieved November 10, 2013 from http://www.creativereview.co.uk/feed/august-2009/13/pleats-please-by-issey- miyake Fig. 21. Miyake, Issey (2011), Autumn/Winter Collection, Kimono Inspired Garment, Retrieved August 1, 2013 from http://www.vogue.co.uk/fashion/autumn-winter- 2011/ready-to-wear/issey- miyake 7 Fig. 22. Yamamoto, Yohji (2011), Autumn/Winter Collection, Kimono Inspired Garment, Retrieved August 19, 2013 from http://www.vogue.co.uk/fashion/autumn-winter- 2011/ready-to-wear/yohji- yamamoto Fig. 23. Watanabe, Junya (2011), Autumn/Winter Collection, Kimono Inspired Garment, Retrieved August 1, 2013 from http://www.style.com/fashion-shows/fall- 2011-ready-to-wear/junya- watanabe/collection Fig. 24. Murad, Zuahir (2012), Spring/Summer Collection, Haute Couture Dress, Retrieved January 22, 2013 from http://www.hellomagazine.com/fashion/designers/acostura-primver- 2012/murad/1/ Fig. 25. Hussein Chalayan by Nick Knight for British Vogue (December, 2008), Experimental Creations, Retrieved January 2, 2013 from http://www.fashionprojects.org/?p=1075 Fig. 26. Aksu, Bora (2014), Autumn/Winter Collection, Avant-garde Fashion Creations, London Fashion Week. Photo by Gizem Kızıltunalı Fig. 27. Chalayan, Hussein (1999), Autumn/Winter, Echoform Collection, The Memory Dress. Retrieved December 10, 2013 from https://www.pinterest.com/pin/377950593700338932/ Fig. 28. Chalayan, Hussein (2002), Spring/Summer, Medea Collection, De-designed Dress, Retrieved June 8, 2014 from http://www.stylezeitgeist.com/forums/showthread.php?t=2542&page=7 Fig. 29. Chalayan, Hussein (2002), Spring/Summer, Medea Collection, De-designed Dress, Retrieved June 8, 2014 from http://www.stylezeitgeist.com/forums/showthread.php?t=2542&page=7 Fig. 30. Chalayan, Hussein (2002), Spring/Summer, Medea Collection, De-designed Dress, Retrieved June 8, 2014 from http://www.stylezeitgeist.com/forums/showthread.php?t=2542&page=7 Fig. 31. Aksu, Bora (2007), Spring/Summer Collection, Creations Influenced by the Converse Sneaker, Retrieved September 4, 2013 from http://ameblo.jp/emimatsushima/theme-10018166446.html 8 Fig. 32. Chalayan, Hussein (1993), Tangent Flows Collection, De-designed Dresses, Retrieved November 3, 2013 from http://fashion- shower.livejournal.com/500775.html Fig. 33. Aksu, Bora (2010), Spring/Summer Collection, Deconstructed Tights, Retrieved May 10, 2012 from http://fancyregalia.blogspot.co.uk/2010/05/girl-you- new-romantic-stud-for- mfn.html Fig. 34. Aksu, Bora (2014), Autumn/Winter Collection, Unconventionally Structured Garment, London Fashion Week. Photo by Gizem Kızıltunalı Fig. 35. Aksu, Bora (2014), Autumn/Winter Collection, Unconventionally Structured Garment, London Fashion Week. Photo by Gizem Kızıltunalı
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