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The Design Connotations of Clothing and Interior Fabrics in the Aesthetic and Institute of Textile Architecture Department of Design and Technology of Textiles Ul

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The Design Connotations of Clothing and Interior Fabrics in the Aesthetic and Institute of Textile Architecture Department of Design and Technology of Textiles Ul Emilia Pryczyńska, Anetta Anderwald The Design Connotations of Clothing and Interior Fabrics in the Aesthetic and Institute of Textile Architecture Department of Design and Technology of Textiles ul. Piotrkowska 276, 90-950 Łódź, Poland Application Aspects, Based on an Analysis of Recent Fashion Guidelines Abstract The fashion of recent seasons has demonstrated numerous links between the designs of cloth- ing and decorative fabrics. The comparison analysis which this article contains illustrates the frequent connotations of the two assortment areas. These connotations refer to qualities of aesthetics as well as of application. Key words: decorative fabrics, clothing fabric, aesthetics, application qualities, connotations. strong relationship between clothing and on surprising solutions in the area of decorative fabrics as regards design and components, construction and the visual application qualities. ‘destructurising’ of fabrics, a variety of decoration techniques and finishing n The Basis of Aesthetic methods [2]. Awareness Influencing the Fashion of Recent Years The encouragement to unconstrained inspiration and fun can be also found in In fashion, the turn of the twenty-first the message of Gunnar Frank, a Dutch century has quite often been compared designer, who has been preparing the to a huge melting pot in which there is guidelines to the International Trade Fair a mixture of various styles accumulating for Home Textiles and Commercially the experiences of many centuries. It is Used Textiles Heimtextil. He described more and more difficult to catch up with the trends for the year 2000 in the words changes and orient oneself among the “Everything is different. Everything is wide variety of inspirations and influ- new. Everything is possible.” ences encountered. Innovative designs characteristic of the 1920s, the 1940s, The following season, 2001, was an invi- the 1970s and the 1980s are mixed with tation (such was the slogan of Premiere elements coming from various eras and Vision at that time) into the world of cultures, which provokes sharp contrasts new designs and colours. There was a and quite often embarrassment [1]. Such symbolic presentation of the meeting and combinations of both designs & materi- mixing of two elements: ‘cool’, hidden als and also styles & techniques are a behind a symbolic picture of a Scandina- consequence of a variety of phenomena vian boy presented in a clear, fresh interi- taking place in our times. It is a response or, and ‘hot’, a girl with oriental features to the era of multimedia. surrounded by Far Eastern-style patterns, n Introduction Asian sweets and exotic fruits [3]. This fundamental change, which is The specificity of the phenomenon popu- breaking up the classical unambiguity larly called ‘fashion’ inseparably links of design, is also associated with an ev- At that time three elements, fire, soil and various aspects of everyday life. These erlasting need to search for something water, became the inspiration for the in- aspects form a new quality which in its absolutely different, and not completely terior designers. As in clothing fashion, turn responds to the current aesthetic and specified in its authentic form. The various climates and three basic colour application needs. The design of planar unique atmosphere of the beginning of ranges (blue, red and grey) interacted. textile products has to take these grow- the new millennium is proving favour- In fire we encountered a mixture of per- ing expectations into account and, like able to this tendency. fumed East, kitsch and elements of pop no other area of production, must react to fashion, everything connected with Far frequent seasonal changes of demand. At the turn of the century, the moment Eastern philosophy. Water, with its light- which included the 2000 season, the ness, brightness and clarity, gave inspira- The course of these changes is common guidelines presented at the International tion and introduced the atmosphere of for various assortment areas because it Fairs of Clothing Textiles Premičre Vi- imagination and the feeling of a sporting considers phenomena determining the sion were based on actions relying on the character. Earth, the third element, was fashion of today, including manufactur- element of surprise. Textiles called by traditionally associated with discretion ing technologies. The analysis of the last the suggestive name of ‘hybrids’ aimed and the warm mood of a comfortable few seasons demonstrates that there is a to shape a new aesthetic awareness based domestic appearance [4]. FIBRES & TEXTILES in Eastern Europe October / December 2003, Vol. 11, No. 4 (43) 15 The slogan presented at Premičre Vision be observed at the stage of material and for youth, is very keen on the macro- for the 2002 spring-summer season was yarn selection. scale, typical of decorative realisations, ‘Alternative’. The variety of inspirations and bright colours based on contrasts of and topics enabled free creation with one During recent years, the fabric design has colour and value. aim: discovering and highlighting one’s highlighted the strong position of natural own individuality. Sensitivity, although fabrics, from cotton through soft wool Prints and jacquards as traditional meth- not free from roughness, optimism, inde- and its mixtures, flax, and silk, to other ods of fabric decoration most fully reflect cisiveness and fantasy harmonising with bast fibres which are also very popular the character of tendencies, withdrawing discipline came to the fore. We can find in the production of clothing fabrics. A from legible, unambiguous forms for the a similar content in the message from common element also seems to be the benefit of complex patterns, and nowa- Heimtextil presenting trends for 2002. large-scale introduction of various weav- days quite often having the character of The motto of the recent season, ‘Home ing and knitting yarns, including fancy semiabstract camouflage. On clothes and is where the heart is’, was an encourage- yarns. They give the effects of drizzling, on decorative fabrics one can recognise ment to create one’s own world in the blending and marble-like appearances motifs inspired by cobbles, archaeologi- neighbouring environment (office, flat, which are present in clothing and deco- cal layers, feathers, designs imitating the house). This unique style was meant to ration products. It is equally popular fur of wild animals, or tree rings, all of ensure maximum comfort for the mind to join yarns of different character and which are additionally enlivened by a and in the application. extremely divergent thicknesses in one variety of backgrounds. fabric. The consequence is differentiat- The current season in clothing fabrics is ing structures and effects, which is also Plant and flower motifs are quite often based on the experience of the previous achieved thanks to the use of combined influenced by actions aiming at blurring years, the tradition of searching and the weaves. A ‘handmade’ character is quite the borders between the background and need for continuous changes. According often obtained by consciously exagger- the motif. Flower designs have the form to the fashion designers, opposites appear ated weaving structures and the effect of of small, irregular patterns, bouquets, next to each other and contrasts build using coarse-grained and texture weaves meadows as well as free compositions. harmony. The leading slogan of the com- of. In this way a highlighted fabric’s Flowers, from small to large in size, ing winter season encourages us to ‘stand construction or the construction’s printed realise a romantic thread. They respond face to face with reason, sharpen our im- imitation is exposed, which quite often is to the need for decorativeness and splen- agination and invent new language’. the clothing’s only decoration [5]. dour in creating our image (especially in clothes for special occasions). Through Finding a new style has also become an See-through and transparency, a very their diversity and multiple forms, they overriding aim in creating space around strong accent which builds a mysterious enchant us with freshness of colours oneself. This year’s Heimtextil (the last sensuality of the silhouette of the 1990s, and paint-like character (Figure 1). This such meeting took place in January 2003) is continued in creating the space around popular motif group is completed by convinces us that ‘there is no way for an us. Air voile, gauze, chiffon, tulles, geor- presentations of various kinds of exotic individual style. An individual style is gette and etamine, ephemeral plaits, light leaves, bamboo, meadow and swamp the way.’ This expression seems to sum linens and batiste, together with a group plants, herbs and herbal plants. up the designing experiences of recent of ultra-light non-woven fabrics, have years. found their permanent place in the vision The energising power, especially in youth of contemporary interior trends. An ex- fashion, can be found in the comeback of The analysis of the design guidelines pre- ample of a similar assimilation is etched ‘soft’ geometry and cashmere designs. sented at the two most important textile fabrics, which initially appeared in cloth- Virtual copies and transformations of fairs in Europe indicates the same direc- ing, and later enlarged their reports and patterns from the 60s and 70s have ap- tion of search. Numerous similarities can the character of motifs used in curtains, peared in textile design, together with be also traced regarding colours,
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