The fashion process is the gateway to understanding the human realm. In my experience, I have come to appreciate the benefits of using clear approaches in the materialization of concepts. Fashion would be quite meaningless if designers failed to handle it systematically. A close look at significant fashion icons shows the extent which process can vitalize clothing concepts. For example, Wales Bonner’s ideas follow a consistent pattern. Her creations are characterized by a strict adherence to particular themes. Arguably, she can be described as a revolutionary fashion warrior. This is owed to the significant leaps she has made since her graduation from fashion school in the year 2014. First, Bonner’s work led her to the award of several honors in the field of fashion design. She was hailed as a creative image that would change the face of menswear designs.
Bonner’s garments are quite lyrical and thematic. This designer uses her creations to portray political messages that would influence society positively. Actually, her creations tell subtle stories that come off as gentle and well calculated. Bonner uses her garments to communicate to fashion audiences that hail from various backgrounds. Even though they may be just about the clothing, the expression of embedded design agendas is usually inevitable. Her talent is phenomenal. Audiences are attracted by the aesthetic appeal of her creations but are then engrossed in the themes portrayed in the clothing. If asked, I would admit that Bonner’s garments are woven with threads of political innuendo. The fact that she is able to educate her audience makes me admire her approach to the design process: she is not afraid to confront the assumptions of her fashion audience and critics.
For a long time, Bonner’s creations have highlighted the positive portrayal of black men. The particular garments depict emotion and racial sensitivity that should define modern society. The employment of techniques regarding fashion imagery go a long way in exciting the judgment of multi-racial audiences. Wales Bonner has extended her fashion creativity to shows such as the AW16. Through the cast of this event, she attempted to promote racial representation through innovative means. The cast was comprised of Black and Asian models. Additionally, the incorporation of mixed race models brought changes to the fashion industry. A review of the industry shows white dominance on runways. People hailing from the Caucasian community model most fashion items. With Bonner’s contributions, this is a considerably important feat for audiences and designers at large. The approach used by Bonner touches on sexuality and gender within racial circles.
In the fashion process, people assume that new changes are hard to create. However, Wales Bonner has made phenomenal changes to the fashion industry. My exposure to her work has opened my mind concerning the methodology aspect of fashion design. She shows that the design process can be blended with institutional concepts that affect the welfare of modern societies. Her garments have valuable meanings that can influence audiences positively and promote a sense of awareness about various political issues. Her Spirituals collection is created on a template of American historical origins. Concerning this, it includes the harmonies that formed part of the African slave culture in the United States. Concerning this, the collection blends portrayals of social oppression and futurism. Wales Bonner is using her platform to shed light on a hopeful future for America.
Pascale Gatzen, another designer, has brought positive changes to the fashion process. She had diverse talents that have influenced the manner in which she approaches fashion design. Apart from a designer, she educates people concerning the significance of art in society. I have a keen admiration for her incorporation of huge collaborative projects in fashion practice. However, clothing is her main medium. Like Bonner, Gatzen chooses particular subjects to employ in her imagery. She uses sophisticated weaving patterns to create pieces that explore chosen themes. She is hailed with the introduction of various fashion process methodologies within the boundaries of cloth weaving. Her style clearly shows her attention to process details rather than an overemphasis on the outcome of her various creations. She keeps an open mind and incorporates various elements of process design to cultivate creative ideas.
Pascale Gatzen’s educative role in fashion is commendable. She has created a school of design that gives her a platform to present her ideas. I have keen interest in her new curriculum that approaches the fashion process critically. She has managed to implement the objectives of her program that focuses on the development of concepts that occur within the context of human radical compassion. The success in her work has contributed to her international recognition. She has created garments that attach fashion to social cohesion. Specifically, Gatzen’s work is an exemplification of human togetherness and relational tolerance. This aspect of design work allows her creations to fit in the corporate world.
The fashion process has been revolutionized by the advancement of science and technology. My encounter with various creations has made me to appreciate the importance of computer-aided design in fashion. I can now draft concepts efficiently and in a timely manner. For decades, the fashion industry has adopted computer technology gradually. In fact, no one knew that these different fields would complement each other substantially. Various methods of design have been created using information technology tools. For example, it is clear that modern fashion creations are made to fit precise sizes. This sharp precision allows students like us to develop varied ideas concerning fashion concepts. I can visualize an item at night and materialize the idea the next morning. I would not have to expose myself to logistical nightmares about the manner in which I would shape fabrics to fit my concept. This gives me a broad range of options to choose when it comes to developing pieces of clothing. Additionally, some computer programs handle the weaving aspect of process design. I would be able to determine weaving patterns using program templates that reflect the real creations once they are materialized. Clearly, computer aided design has overtaken the significance of manual sketching. Personally, it relieves me of mathematical problems that I would have to face if I had to draw process ideas using traditional sketching techniques.
While computer aided design is the ultimate answer in fashion design, I still acknowledge manual methods of the process. I would not want to specialize in the application of computer-aided design at the expense of my manual design capabilities. Computer technology is good, but traditional approaches to the design process allow me to deepen my understanding of my field of work. I am able to apply hand-on techniques in the implementation of design plans. The requirement to figure out factors manually stretches my limits. Additionally, I take pleasure in cutting design patterns and train my hands on the physical demands of fashion design. Nevertheless, I still value my training on software fashion design.
The importance of the process in fashion design cannot be downplayed. A critical approach to design methodology brings out the fundamental roles of fashion. First, processes are critical in creating the symbolism of clothing. When I create a design, the finished product is usually an exemplification of my inner contentions. I am able to communicate my fears and hopes through the clothing I make. A perfectly finished item can tell a story about my mood. This concerns the amount of time I directed into the steps I used in the creation. I may do a scanty job to express casualness, which may be associated with a somber expression of cultural affairs. Nevertheless, the manner in which my audience would judge my work will vary across individual tastes. For some, they would prefer fine finishing that show formality and cultural elegance. However, the same people may admire scanty creations depending on their emotional states.
Arguably, the symbolism of fashion design has been appreciated for many years. It is not a new fact that people dress to show some aspects of their social views about life. Designers like me can use this factor to capitalize on innovative fashion design. For instance, I may develop garments express power and fame. This would be acceptable to particular segments of populations. Class differences influence people’s fashion tastes. I would consider this factor and ensure that my products appeal to the target audiences. This would allow me be objective in the design process and produce creations that augment the positive values of society.
Additionally, the process aspect of fashion design enables designers to influence the final perception of their product. This concerns the fashion audience that would consume a particular product. Regarding to clothing, the incorporation of various elements may go a long way to create certain responses from clients. This can be understood using the metaphor of culinary arts. When a chef prepares food, they use the quality of their ingredients to manipulate the perceived palatability to be realized. This means that they can tell whether their food would please their guests or not. This knowledge gives the chef the power to engineer the outcomes of their food preparations. In the fashion industry, the careful selection of design elements can go a long way in achieving similar goals. For instance, If I am to create garments for women, I would incorporate bright colors and trendy weaving patterns in my design. This would give the clients a feeling of elegance and class. The outcomes would be evident when people would perceive them according to the aesthetic appeal of the clothing they wear. Nevertheless, this does not end with aesthetics. The choice of materials will influence the manner in which the garment wearers would be perceived. The use of expensive materials such as silk would exude economic achievement and fine tastes.
Bibliography
Lawson, Cynthia. "The New School collaborates: Organization and communication in immersive international field programs with artisan communities." Visible Language 44, no. 2 (2010): 239.
Schneier, M. (2016). At the London Men’s Shows, Sprinters and Marathoners Alike. [online] Nytimes.com. Available at: http://www.nytimes.com/2016/01/14/fashion/at-the-london-mens-shows-sprinters-and-marathoners-alike.html?_r=0 [Accessed 6 May 2016].
