Cultural and Historical Studies

Philipp Dorner 18021597 19/20 BA (Hons) Fashion Design Technology LCF Menswear Year 2 Cultural and Historical Studies The Culture of Fashion Design Caroline Stevenson I, Philipp Dorner, certify that this is an original piece of work. I have acknowledged all sources and citations. No section of this essay has been plagiarised.

Use a series of images to discuss the paradox that Anneke Smelik describes between the ‘contemporary desire for authenticity and creativity, and the clothing practice of conformation and standardisation.’ (Smelik, 2011 p.77)

To understand the role of the ‘’contemporary desire for authenticity and creativity’’ this essay aims to provide a discussion of craftsmanship, consumerism and individualism. In the first part I have focused on these three main aspects that were particularly shaping creative industries such as fashion in the last two centuries. To discuss their relevance and importance to authenticity I structured them as followed. Firstly, craftsmanship has been the origin of whatever could be made. Therefore, this part draws key theoretical ideas from Peter Dormer (1999). The word craft and craftsman has been redefined and modified multiple times and shaped the job definition of a designer and craftsman today. In relation to this the next part is focused on the industrialization. The industrialization had a massive impact on how craft is used in an efficient way and how several techniques were replaced by machines.

Thus, it is based on Peter Dormer (1999) as well as the theoretical ideas of Glenn Adamson (2007, 2013) and Anneke Smelik (2011). The industrialization is linked to how consumerism has changed as well and how it became one of the main factors of Fast Fashion in all market levels. Finally, it focuses on self-made clothes. The industrialization is not just linked to how clothes are produced. The domestic sewing machine is resulting out of this as well. Earlier women had to sew clothes themselves out of financial reasons. Therefore, the resources of Amy Twigger (2017) and Barbara Burman (1999) show how sewing at home became a passion and as clothes became more reasonable women continued sewing at home for satisfaction and more authentic garments. The theoretical resources are directly linked to my

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first-hand research and key ideas. The first concept is the service or personalized and bespoke products. What products different brands are offering and how traditional craftsmanship is being used to recreate something that already exists or creating something completely new on an industrial base manufactory. This is also linking to how traditional craftsmanship can be preserved. As the request for bespoke, high end and individual hand made products is growing knowledge and experience needs to be handed over to next generation. The last idea focuses on, that exclusiveness doesn’t necessarily mean expensive or luxury. It links to the idea theoretical part of self-made clothes today remaking things we already have, and how creative people use second-hand items to have something more individual. A fashion store in London with its concept to sell each item only once in one size is supporting the idea of bringing back authenticity in fashion. This essay seeks to illustrate how craftsmanship, consumerism and individualism have established since the nineteenth century and brought the industry to the point where we are now. It also provides key ideas of existing concept that have already established and how these can be elevated. It also aims to discuss what authenticity means for each individual, if it is something to buy, to make yourselves or remaking something.

To begin with the first part of the discussion is about craftsmanship, the history of craft and how craft itself developed since the nineteenth century. Making and the process behind has ever been a very important part to realize and idea or purpose. Peter Dormer argues that ,, In the early nineteenth century objects or things were initially designed and made by craftsmen modellers, and later in the in the century designed by designers and then made by craftsmen.’’(Dormer, 1997 p.158) In other words, the definition of a designer changed completely e.g. around half a century ago when big fashion houses started using ateliers and special crafter to realize their visions instead of making it themselves. Additionally, and indispensable to mention that ‘’the word design was more often used than craft’’ (Dormer, 1997 p.40) which clearly shows that the process of making and designing has been

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separating from each other and the industry began to focus more on mass productions. Figure 1 and 2 are showing the atelier of Brioni were a MasterTailor is adjusting the sleeve length of a client and the form where the measurements of each client are filled in. Back in that period of time, it was still Fig. 1. (Bayley, 1995)

Fig. 2. (Dorner, 2018)

common, that Master tailors or the craftsmen themselves made the critical decision of critical parts and also carried out the work as well. The way of making suits is quite relatable to the shops on Saville Row in London. Dormer also states ‘’Making is both the means through which the craftsperson explores their obsession or idea and an end itself’’ (Dormer, 1997 p.

154). Therefore, designing for a purpose, including the process of exploration, and an individual client, disappeared more and more in the fashion industry.

As mentioned in the previous part, craft as a making process has drastically changed and one-piece manufacturing turned into a mass market production through all market levels.

Fast Fashion from contemporary to luxury, therefore, has become a global trend, caused by the industrialization and consumerism. Adamson argues ‘’[…] that fashion ever looks toward the next thing, it seems quite likely to be shape things to come.’’ (Adamson, 2013 p.36) Regarding this, it is more than obvious that consumers are always on the hunt for the next big thing as soon as possible. The desire therefore becomes bigger, faster and the market needs are changing constantly. Peter Dormer states that ‘’Sales manager want to respond to this desire to push their profit (Dormer, 1997 p.164).’’ As consumerism is requesting a new release almost every week, however technology has a huge impact as well. It is very well explained by Peter Dormer how much quicker the process by using CAD for pattern making and grading is compared to making everything manually such as smaller brands that cannot afford the license (Dormer, 1997 pp.166-167). This is supporting an efficient completion and growth for major brands to become bigger, more profitable and turning traditional crafts such

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as bespoke tailoring into a mass market production (Dormer, 1997 p.158). In addition, the industrialization influences this process by machines that mimic handcraft (Dormer, 1997 p.

143). On the photo is shown a coat in the assembly line of the suit maker Hugo Boss. This coat has been specifically made for a customer by the usage of machines that mimic hand stitches as visual details and inside of the coat to keep pattern pieces together. The relevance of machines is getting extremely important to fill the lack of specialized and experienced craftsmen including their knowledge. All of this clearly shows consumerism has changed through the technical development. It has never

Fig. 3. (Dorner, 2007)

been more possible to manufacture products faster and cheaper than today and full fill the needs of all market levels which in the words of Anneke Smelik: ‘’achieves a level of safety and satisfaction’’ (Smelik, 2011 p.78) for brands and customers.

Moreover, the industrialization did not just take place in terms of fashion production, the invention and development of the domestic sewing machine has become an important part as well. In the early nineteenth century women began to sew out of financial reasons but was discovered by wealthier housewives as ‘’a passion for objects’’ (Dormer, 1997 p.151) later.

When Fast Fashion and the industrialization made clothes more reasonable, many people started to miss individuality and exclusivity in clothes and making clothes yourselves turned into an expensive amusement. Figure 4 shows an upper class woman ‘’[…] finishing a perfect fitted skirt which is draped over her lap and admired by women she’s surrounded with’’ (Burman, 1999 p.165). Twigger is also mentioning the

Fig. 4. (Burmann, 1999)

fear of things looking homemade and unprofessional (Twigger, 2017 p.95) resulting of lack of experience. Therefore, people started visiting sewing short courses or were visiting tailor

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shops to get trained and making your own garments got quite valuable. On the other side Twigger states that ‘’imperfection reflects on us being human and not machines’’ (Twigger, 2017 p.97). As brands are offering personalization nowadays, some were arguing ‘’I can make something just as nice’’. (Twigger 2017 p.83). For this reason, customers saw something more individual in self-made clothes rather than clothes you can buy. Not just having a new garment in your wardrobe, in addition Twigger shows that sewing is satisfying your needs for identity and is pleasing you, because it is yours (Twigger, 2017 pp.80-98). In other words, the physical making and satisfaction is more important than the cost or a purchased garment.

Traditional crafts are more and more used for a mass market production.

Today almost every luxury and some contemporary brands like Brioni, Louis Vuitton or Hugo Boss are offering a Personalization service through a variety of product categories. These services are mostly defined as Bespoke, Made to Order, Made to Measure and so on to create individual pieces in terms of fit, look and purpose. According to Anneke Smelik we are performing ourselves every day as who we are, and fashion is an important way to express our identity. (Smelik, 2011 p.81) as the creative process of brands is just allowing designers roughly 12 weeks of product development (Dormer, 1997 p.164) everything looks the same and customers are requesting something more individual and authentic to express themselves. On the photo is shown the ‘’Make it Yours’’ platform created by Louis Vuitton which allows clients to create something completely individual or products that already exist and can be made in a different colour or shape. This tool is especially created to personalize and create completely new items for customers in store and online. It doesn’t Fig. 5. (Dorner, 2020)

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matter what product, everything seems to be possible from bags, belts, ready to wear, shoes to trunks. Twigger Holroyd told us: ‘’I suppose what I’m wanting is just something that looks a little bit different, a bit more individual’’. (Twigger, 2017 p.84) While some customers still want to shop brands this may be an option to seek more authenticity. Although some are more interested in a visually more settle and fitted piece such as a Brioni bespoke suit. Referring to Twigger: ‘’[…] as our tastes and needs change we acquire new items and others fall out of wear.’’ (Twigger 2017 p.162). Brioni offers a huge variety of custom-made products as well and is known for formal, timeless and understatement clothing on the highest craft level possible. Thus, authenticity can also be accomplished without having your initials embroidered in bright colours on the back of your jacket. It is evident that pieces specifically made for induvial shoppers are becoming an expanding business during times where everything almost looks the same.

Furthermore, the concept of bespoke and made to order services by major brands as well as small shops on Saville row is opening a new perspective in terms of the fashion system. To quote from Adamson ‘’we must try to turn the clock back, reive crafts organic role in society, or at least slow the pace of its vanishing.’’ (Adamson 2013, p. xii) Many different jobs such as hat- and shoemakers are dying as they have been replaced with machine and robots in assembly lines. As the request for bespoke and made to order pieces are rising, he therefore means we have to turn back time and hand over the knowledge of craftsmen to the new generation to preserve the craftsmanship for the future. Even big brands invented the assembly lines and mass production, however some like Brioni and Gucci opened their own schools to train the younger generation with their traditional crafting techniques. Figure 6 shows how master tailors are training tailors and young boys in the background how make the front of a bespoke jacket. Referring to Peter Dormer ‘’students or apprentices need to be shown hot to make things’’ Fig. 6. (Vergani, 2004)

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(Dormer, 1997 p.148) handing over experience is an unnegotiable part because otherwise it will disappear. The process of making suits never has changed at Brioni and that’s why they can still provide exquisite quality. I experienced during my visit two years ago, that the bespoke and Ready to Wear assembly line is strictly separated to guarantee individual and authentic garments regarding the client’s silhouettes and visual wishes see photo of the Brioni factory on the right.

Customized clothing or accessories is also attracting younger customers now. But not just the product

Fig. 7. (Dorner, 2018)

itself, the millennials are starting to show interest in making and the process as well. While I was working for Hugo Boss and Brioni in the ateliers, every year the company employed a big amount of tailor apprentices. How peter Dormer would say: […] the only way to understand things is to make them’’ (Dormer, 1997 p.137). He clearly explains that experience is a result of making and can only gained by an apprenticeship and is more than necessary to secure knowledge and maintain the possibility to create individual pieces for the contemporary such as the luxury market.

Nevertheless, new concepts of selling- and making clothes as well as second-hand shopping is giving the fashion industry a new shape. Exclusiveness is more and more defined differently, and it doesn’t necessarily mean it must be luxurious. Peter Dormer is questioning if consumers are still able to tell the difference between hand- or machine-made (Dormer, 1997 p.144). That’s exactly why second-hand shops are more preferred than high street shops by creative people as they could find something that’s for sure handmade and is part of a making process. Based on sewing garments yourselves in the discussion the next concept has a similar approach. Adamson is describing a young designers work. He explains how she is using industrial leftovers such as canvas and debris (Adamson, 2007 p.64).

Sustainability is for sure an important part of the fashion industry, however reusing things or others waist to make something individual is more than that. Leftovers cannot be bought

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again and is therefore described as another level of exclusiveness. This is not just a motivation for designer, it also is for people who love to make their own garments to express their individuality. ‘’Physically making something with your hands’’ (Twigger, 2017 p. 79) is still a passion for a lot of consumers. There is a huge amount of unworn clothes in everybody’s wardrobe even self-made garments as Twigger says (Twigger, 2017 p.86). Using the passion of making thing yourselves is now also used for altering or making new clothes out of something that hasn’t been worn or would be thrown away. The

Fig. 8. (Seipp, 2020)

last concept is the showroom of MachineA (see Fig. 8). It is a London based showroom that is not just supporting upcoming designers it is also a great concept in terms of securing individuality in an authentic way. Every piece is only available once in one size and may look different than expected. Dormer states that ‘’there is a tendency, for example, to see regularity, neatness and perfection as cold, an irregularity as arm (Dormer, 1997 p.143 ). In that case the unexpected surprise that a garment looks even better in a different size or fit, is exactly what individualism and authenticity are separating from standardisation.

To conclude, this assignment has addressed a number of significant aspects which show that ‘’The performance of Authenticity’’ (Smelik, 2011) in fashion is based on craftsmanship, consumerism and industrialization. The theoretical parts, which are not all directly originating from fashion, are clearly supporting the fact that the industry has changed. As design and craft separated in two different parts, individuality and quality got lost on its way. In fact, the luxury market became an unexclusive mass market and standardisation is as present as never before. Contemporary and luxury brands are offering a wide range of bespoke and customisation services. It clearly became a trend for those who love to shop brands but still like to have something more personal. As the speed of fast fashion doesn’t allow even artistic brands, being creative anymore (Dormer,1997). Making big profits rather than caring about

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the client needs and purposes disappeared during the industrialization and almost anything that’s offered on the market is a huge jumble. In the words of Smelik ‘’people look for experiences to fill their void’’ (Smelik, 2011 p.78) rather than buying more clothes they do not need and are looking the same than everyone else’s. This supports the idea of making and modifying garments yourselves, that also have an emotional value for you as well. The entire making process is an experience and is leading to a unique result. It could be argued that preserving traditional crafts, as the school owned by Brioni does, is very important and fundamental. However, new crafts such as laser cut, and 3D printing are already successful techniques to create a unique silhouette or textile. That proofs, new techniques or retail concepts are obtained by consumers already. In that case established crafts are not ignored, it is just a new way of being exclusive while conventional know how is used for mass manufacturing. This shows that buying smaller brands with low quantities and second-hand pieces, creates a more personal narrative for the consumer as they have been manufactured by themselves and not in huge assembly lines. New ideas of remaking or renewing things, you have already bought, caught consumers attention as well. My research shows, referring to Twigger that ‘’wearing second-hand items in combination with new items’’ (Twigger, 2017) has already been practiced successfully. Too seek for more authenticity in our daily performance (Smelik, 2011 p.81) combining self-made and second-hand clothes, with new personalized items that have been especially created for you demonstrates a bigger satisfaction. To sum up, exclusiveness and authenticity is more seen in things that no one else can buy or own and are not part of the industrialized standardisation.

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Figure 1: Bayley, S. and Giorgetti, C. (1995). Brioni, fifty years of style. Firenze: Octavo, p.25.

Figure 2: Dorner, P. (2018). Penne (Photograph) Figure 3: Dorner, P. (2018). Metzingen (Photograph) Figure 4: Burman, B. (1999). The culture of sewing. Oxford: Berg, p.164.

Figure 5: Dorner, P. (2020). Make it Yours Louis Vuitton App. Louis vuitton, p.Make it yours.

Figure 6: Vergani, G., 2004. The Abruzzi Tailor’s Workshop Yesterday and Today, Milan, Italy. p 94-95.

Figure 7: Figure 3: Dorner, P. (2018). Penne (Photograph) Figure 8: Seipp, C. (2020). Stavros Karelis of MACHINE-A talks retail reinvention and the power of London fashion. Interview by Carla Seipp. [online] Ashadedviewonfashion.com.

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