Fashion Cool Corner
ads
ads
Wednesday, July 13, 2011
Technology Will Influence Fashion
New fabrics will take the lead, and fashion designers will embrace the decorative and functional potential of revolutionary materials. Fashion fabrics with integral anti-perspiring or scent-releasing features will become ordinary. "Technologists will invent more multi-purpose fabrics, accessories, and makeup and extend the range of sensory and audio products to wear. Computer-aided design will provide made-to-measure garments for the mass market."
The fashion world of the recent past will still be recognizable, however. "Youth will be in charge. Pop music, videos, movies, television, and the fashion press will still promote fashion's idols and help to spark the latest fads." There will be more sophisticated "virtual fashion" websites to speed the dissemination of style ideas worldwide. Despite access to online shopping, people will still want the experience of trailing around the mall looking for that perfect outfit.
Working from the home in comfortable, informal garments will be an option of many, but the subdued suit and corporate image will retain their hold on office workers' wardrobes, Koontz indicates. Professional sportswear will continue to influence leisurewear, and casuals with designer labels will remain important for the entire family.
Paris, the traditional designer mecca, will face increasing competition from rival centers--including New York, Milan, and Tokyo--but it will retain its position as the epicenter of culture. In Japan, the growing youth and fashion industry will become stronger. By the middle of the 21st century, African states, the South Asian subcontinent, and China will have become potent fashion forces.
The influence of fashion magazines
The emergence of the slender body type as a beauty standard for women is especially salient in the mass media, and several researchers have demonstrated how the female body depicted in the media has become increasingly thin (Garner, Garfinkel, Schwartz, & Thompson, 1980; Ogletree, Williams, Raffeld, Mason, & Fricke, 1990; Silverstein, Perdue, Peterson, & Kelly, 1986; Wiseman, Gray, Mosimann, & Ahrens, 1992). Assessing the height, weight, and body measurements of Playboy centerfolds and of Miss America Pageant contestants from 1960 to 1979, Garner et al. (1980) found that the percent of average weight of the models declined significantly.For example, in 1960, the average weight of Playboy models was 91% of the population mean. By 1978, mean weight of the models has dropped to 84% of the population mean. A similar trend was apparent among the Miss America Pageant contestants: Prior to 1970, mean weight of the contestants was approximately 88% of the population norm. Following 1970, mean weight of the contestants had decreased to 85% of the population norm
Garner and colleagues also noted a trend toward noncurvaceousness from 1960 to 1979. The bust and hip measurements of Playboy models decreased and their waist measurements increased significantly. These findings are consistent with those reported by Silverstein, Perdue, Peterson, and Kelly (1986) who examined the curvaceousness of models appearing in Vogue and Ladies Home Journal from 1901 to 1981 and of popular movie actresses from 1941 to 1979. The investigators found that among the models appearing in Ladies Home Journal and Vogue, the bust-to-waist ratio dropped significantly. Additionally, the average bust-to-waist ratio of actresses from the 1960s and 1970s was significantly smaller than that of actresses from the 1940s and 1950s. Similar results were reported by Morris, Cooper, and Cooper (1989) in their study of British fashion models.
Taken together, the findings of Garner and colleagues and of Silverstein and colleagues show that from the turn of the century throughout the 1970s, the standard of physical attractiveness for women presented in the mass media became much thinner and less curvaceous. These findings were replicated in a recent update of the Garner et al. (1980) research. Using the same procedures employed in the Garner study, Wiseman et al. (1992) found that during the period from 1979 to 1988, Miss America contestants continued to decrease in body size and Playboy models maintained their already low body sizes. As did previous researchers, Wiseman et al. (1992) found that curvaceousness (i.e., hip measurements) continued to decline among Miss America contestants.
One finding reported in the Wiseman et al. (1992) study has serious implications for women's well-being. During the period from 1979 to 1988, 69% of Playboy models and 60% of Miss America contestants weighed 15% or more below the expected weight for their age and height category. The researchers note that according to the DSM III-R, maintaining body weight of 15% below one's expected weight is a criterion for anorexia nervosa. Other researchers have also noted the prevalence of disordered eating among fashion models (e.g., Brenner & Cunningham, 1992) and the severe health risks associated with achieving a very thin body type. Women whose body fat falls below 22% are much more susceptible to infertility, amenorrhea, ovarian and endometrial cancer, and osteoporosis (Seid, 1989). These findings suggest that the slim beauty ideal presented in the media may be unhealthy for women.
Given the messages aimed at women through the mass media, it is not surprising that many American women desire to be thin and that women typically feel dissatisfied with their bodies. Women generally are less satisfied with their bodies than are men (Altabe & Thompson, 1993; Brenner & Cunningham, 1992; Davis & Cowles, 1991; Koff, Rierdan, & Stubbs, 1990; Mintz & Betz, 1986). Even women who can be classified as being within or slightly below the normal weight range for their height often perceive themselves as being overweight and are dissatisfied with their bodies. Body image dissatisfaction is a crucial area of investigation because of its relationship to low self-esteem (Koff, Rierdan, & Stubbs, 1990) and to depression (Rierdan, Koff & Stubbs, 1989).
The fickle business of fashion
"I saw the results as disastrous, photos appeared with my skin looking gray," she says. "I learned fight then and there that photography and my image is my currency. The seed to create my own makeup line was planted right at that shoot."
It took 19 years for that seed to bear fruit as Iman Cosmetics, Skincare and Fragrances, a company known for formulating products specifically for women of color. In that time, Iman evolved from the London-educated daughter of a Somali ambassador to one of the most powerful executives in her industry with interests in cosmetics, books and television. Though her company is privately held and thus doesn't release sales figures, Iman Cosmetics is a global operation, selling in the United States, Great Britain, France, Norway, Ireland, Africa and the Caribbean. Iman, wife of rock star David Bowie and mother of two, helms the firm while shooting episodes of Project Runway Canada, which she hosts.
Her ascent coincided with a cultural shift that turned the fashion industry into the canvas upon which women like Tyra Banks, Kimora Lee Simmons and Alek Wek have painted themselves as sirens, entrepreneurs, authors and philanthropists.
Alexei Hay Fashion
FOREVER TORN BETWEEN ITS AMBITIONS as art and its allegiance to commerce, fashion photography is so confident right now that for all intents the distinction has dissolved. Serious fashion types call the genre's most accomplished image makers "auteurs," and the conceit seems more apt than ever. If the fashion photograph has traditionally been calculated to seduce, to startle, and, of course, to sell, today it often simply sells itself. Forget the clothes; forget the model; vision is all. Take twenty-seven-year-old Alexei Hay: Lifted out of the editorial context, his pictures rarely betray their function. "I never think about the clothes when I go to a shoot," he says, and the fashion usually does seem incidental, if not entirely beside the point.
In fact, Hay would probably object to being described as a fashion photographer. He works regularly at Harper's Bazaar, where he must think clothes, and recently signed on to shoot Gucci's new ad campaign (he says the prominent bulge in one model's pants was not his idea), but he seems more excited about blowing up TV sets and cereal boxes for the New York Times Magazine than trekking to the California desert with an entourage of makeup artists, hairdressers, and models in fur. Though Hay talks about adapting Irving Penn's portable tent for his Gucci shoot--removing the back wall for an oddly unnaturalistic effect--the sources that feed his head are an unlikely mix, from James Nachtwey and vintage Face spreads to Helmut Newton and forgotten '70s cheese whiz Cheyco Leidmann. Maybe that's why the best of his work, though extremely polished, still feels real: frisky, funny