![]() ![]() Along with Tom Ford, Slimane is emblematic of the rise of the “creative director” engineering not only the various collections but also the brand’s visual identity right down to store design and the architecture of the Dior Homme boutiques worldwide. This article sets out to assess the designer’s conscious reworking of masculinity, replacing virile men with skinny boys, perceived as the clearest paradigm shift in male fashion imagery since Armani, as well as tracking Slimane’s impact on the landscape of contemporary fashion. Slimane’s rebranding of the Dior menswear line (from the fusty Christian Dior Monsieur to the hip Dior Homme) adapted a range of urban street styles to suit the in-house tradition of classicism and bourgeois elegance. Slimane’s reputation is founded on having streamlined and rejuvenated the male silhouette through the promotion of a skinny style appropriated from youth subcultures. The arrival of designer Hedi Slimane at Christian Dior in 2000 marked an epoch change in men’s style. Keywords: Hussein Chalayan, deconstructivism, radical fashion, re-semantification, object-clothes. Within this chapter, Hussein Chalayan will be analysed as the designer who pioneered the radical and critical channel in the global fashion system, marking a new era in fashion history in terms of the possibilities of incubating a critical role through design discourse. In all three paths the idea is the epicentre for Chalayan’s inter-disciplinary design process in which he draws no distinction among the world of clothes, objects, images and spatial environments. In order to construct meaning, Chalayan develops three different conceptual paths, addressing social problems, symbolic narration, and/or phenomenological events. Chalayan has put up resistance against the image-oriented approach of the fashion industry through his conceptual attitude by deconstructing the meaning of the clothes to re-semantify them and change their ontology. ![]() By the end of the 1980s Hussein Chalayan had taken over the critical position of Martin Margiela, the pioneer of deconstructivism in fashion, through his controversial discourse and designs against consumer culture. However, the movement of deconstructivism has marked a critical era in contemporary fashion. In the homogenized environment of the global fashion system creativity and differentiation have almost been reduced into forms and silhouettes and clothing has been transformed into a commodity.
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