For the “big-brands” supporters: ‘’(un)fashion’’ :Tibor + Maria Kalman.
As consumers we are used to look at store’s windows, and after seen a couple of them we can imagine what is going to be popular next season. However, what we generally ignore is from where big brands get inspired or get information on what is going to be fashionable next season or the next five years.
Even knowing that there are big agencies devoted to the trend projections in all areas of design (textile, interior and graphic design, etc.), it seems that all came down to what came first the chicken or the egg; fashion or the need to get dressed? Is the one who determines fashion and set the trend, or the one that uses it? I wish the answer was short and simple but it’s not black or white. But, undoubtly, designers get inspired by street ware from all around the world.
So why don’t we stop behaving like plain and dull consumers? We should go a step further, beyond brands and fashions next “must have” item? Why don’t we take the chance to try to elucidate for ourselves the next trend? What fashion item that today seems irrelevant, will be the next big thing? We must stop being thoughtless consumers, and become analytical enough to start thinking where we want fashion to go, what we want fashion to be. We want the fashion industry to speak about us and our environment, our culture and our identity. When did we stop seeing the world around us with the same surprise and astonishment that we look at a window store in the beginning of the season? Do we pay the same attention to the small details that surround us that we do to the latest fashion accessory? When does a working accessory transform into a fashion accessory?
One simple exercise we can do is paying attention to how the architecture changes from neighborhood to neighborhood depending on when it was built. From those buildings we can learn the aesthetic premise of the time. They expose the dominant ideas of the time they were built. Can we translocate the methodology of analysis to our actual environment? And, even harder, can we translocate the same analysis to other cities of other countries? And, … through history? Almost like a sociological analysis. Nevertheless, it seems that we, as a society, only could do this, with big fashion historical events. For example, when women started wearing pants, or with the invention of denim, as the ideal fabric for worker’s clothes. If we could, or if we tried, and with a little bit of practice, we could, by ourselves, predict what are we going to wear next season.
Luckily, fashion surpasses runways and designers. Fashion is everywhere, even in the most unexpected places. This kind of fashion speaks about our identity, speaks about what we are and not of what we should be. Fashion is filled with content. Fashion represents the human being’s necessity of expressing themselves through what we wear, what we hang, tied or get tattooed in our bodies. Fashion is deeply rooted in human nature. This fashion that, at first sight seems so far away, so strange, belongs to us much more than what we can find in any mall, local store or runway. Fashion is what we are and what we need, and nobody else but us knows this better than us. This is our exclusive power.
This is a book that allows us to appreciate a way of looking at fashion in our daily lives, to help us discover the beauty in it. And, for the imagines that don’t represent our culture, this book help us to have a more objective point of view of cultures that are not so visible in our the fashion world that we know. That’s why they seem closer to the daily lives of others.