The V&A museum.. continues to maintain the history by showcasing fashion style of the great 1980's era. Going through the windows with vintage , creative looks of the era was stupendous and stimulating. By noting down ideas n looks of the 1980's. I realised fashion is a cycle which keeps on rotating and experimenting . we can make out from the windows lot of trends and fashion is still being carry forwarded and is a part of todays fashion culture.
Lets start with the history Of 1980's
DECONSTRUCTING FASHION
1975-1985
During the late 1970’s,Vivienne westwood and Malcolm Mclarens’s
shop in king’s road was at
the centre of London’s emerging punk movement. Closely
associated with bands such as Sex Pistols, punk was anti establishment,
androgynous and improvised. Its influence is still felt today, in graphics,
music and fashion.
By the early 1980’s Westwood was drawing on ethnic and
historical influences, with collection such as Pirate and buffalo. The British
designer John Galliano graduated in 1984 from Central st Martins. His collection Les Incroyables , was
inspired by the French revolution and later he went on to design for Givenchy
and Dior.
LETS HAVE AN INSIGHT ON - Hard times, club, high camp, customised, glam fetish, body map, body conscious rave, of 1980's.....
BODY CONSICOUS
BODY CONSICOUS
The voluminous look of the early 1980's were replaced with a new figure hugging look. The trend was driven by advances in textile, technology. Which allowed almost any material to have stretchable fibres woven into it.
Designers embraced the stream lining properties of these new fabrics , creating high fitting paired down club wear and body conscious lycra clothing for sport and leisure.
Vogue commented in 1987- stretch is fashion dynamic force , its the sexiest dressing yet showing its every movement sounding every curve of body waistline hips and thighs.
BODY MAP
We created a new way of dressing using stretch fabric we took the leisure suits of 80's and using jersey, velour and lycra-moulded them to designer shapes with new innovative silhouettes and the addition of striking bold graphic patterns , print and a splash of colours. Body map redefined pattern cutting. Their dynamic catwalk shows and later collaboration with choreographer Michael Clark changed the way that fashion shows were presented. "we were definitely anti establishment" . we weren't going to show our clothes in the conventional way'
CAT IN THE HAT TAKES A RUMBLE WITH A TECHNO FISH COLLECTION 1984
GREAT SAYING BY DAVID HOLAH AND STEVIE STEWART used to wear skin tight leggings , a skirt
over the top and then something else .I found somewhere over that. We weren't
putting a fashion look together; we were putting a look together. That
definitely came from punk. The idea that you can create your own look.
A TECHNO FISH COLLECTION 1984
Body map’s directional 1984 collection mixed and matched diverse influences ,
including Dr Seuss books, Coppola’s film Rumble Fish and monochrome graphics. It
ended up ‘like a snowball rolling down and gathering momentum and influences
along the way STEVIE STEWART.
CUSTOMISED
Punk tore up the rule book of fashion. By the '80s designer and clubbers were customising and combining to create a new, postmodern style. mixing and matching the historical with the new, the salvaged and the home made, they created a look that was fearlessly individual.
Magazines such as I-D , The face and BLITZ featured models drawn from the streets and the clubs , who redefined ideals of beauty. The magazines were at the heart of a new concept of styling which was more about an attitude than about creating a fashionable look. In the 1980's style magazines introduced the idea that fashion was there to enable you to express yourself'
CLUB
The 80's saw the explosion of the London club scene. Specialist club 'nights' offered opportunities for dressing up in the company of a like minded crowd, Stevie Stewart of body map explained that each group of people, whether they were fashion designers, musicians or filmmakers, living together and going out together had passion for creating something new that was almost infectious.
Early clubs such as Biliy's Blitz and the club for heroes were small and attracted a selective crowd . As the decade progresses, venues such as Camden palace and one-off warehouse parties began to attract much larger audiences, Although less intimate , they perpetuated the creative link between music, club and catwalk. This symbiotic relationship remained the defining characteristic of 1980's style.
HIGH CAMP
Designers and performance artist Leigh Bowery ran the notoriously camp nightclub taboo, so called because 'there is nothing you can't do there '.he developed his extreme personal style by manipulating and adorning his own body, and using the club as theatre for his exhibitionism.
The high camp club scene inspired and provoked clubbers, performers and designers to push their fashion ,and their behaviour, to the extreme .John Galliano recalled 'I was a club demon..in the mid eighties, there was only one place to be. Taboo was the best'
GLAM FETISH
Malcolm McLaren and Vivienne Westwood's shop SEX introduced fetish and bondage wear to the club and music scene in the mid 70's. These became an integral element of punk, the anarchic godparent to 1980s style.
Fetish re-emerged in a more glamorous form in the 80's .The first od a new wave of clubs, Skin two, opened in 1983. brave clubbers wore full rubber outfits and fetish gear, making use of stretch synthetics, leather , rubber, buckles and straps, worn with stilettos or thigh -high boots. the look was enriched with glam rock elements such as luxurious gold leather and flashy jewellery.
HARD TIMES
Ripped T-shirts , torn jeans and Marlon Brando-inspired black leather jackets characterised the 'HARD TIMES 'look. Tough , masculine and sexy, this style was the antithesis of New Romantic, and reflected what The Face described in 1982 as a hardening of attitudes in music and fashion.
Equally masculine were the big shouldered 'zoot' suits worn with peg trousers , correspondent shoes and 'pork pie' hats or a jaunty beret. this type of clothing was bought from vintage American clothing stores such as Flip in Convent Garden. Leading the trend was Chris Sullivan, musician and founder of the long running Wag Club, who ordered his retro styles suits from a local tailor.
RAVE
The dressed up -aesthetic of earlier clubs. Taboo was replaced by more casual dress to sweat clothes but there was still attention to details.
Rave style found its way into the catwalk with day glow colours and metallic tones combined with a sleek new sports aesthetic. The style gave the New Age mood of 1920's
DRESS FOR A MAN
DESIGNER-JULIANNA SISSONS
CALL ME’ MADAME ‘COLLECTION 1982 autumn winter 1981
Dress – metal set with mirror glass and resin..
This dress was presented in a fashion show held at the gay
club heaven in 1982 . ‘Call me Madame’ was also the name of Sissons’s shop in
heaven. Which opened every Thursday during the ‘Asylum night’ .The headdress
was made by Andrew logan, founder of the
alternative Miss world open to all beauty pageant.
FAMOUS PHOTOGRAPHED ICONS
Scarlett Cannon was one of the most photographed faces of
the 1980s. Featuring in magazines I-D. The Face and The BLITZ, She was also one
of the co-founders of CHA CHA night at
at the gay club heaven .
FAMOUS DESIGNERS AND THEIR CONTRIBUTION TO THE ERA OF 80'S
MICHIKO KOSHINO
Japan based designer, Stores in Convent Garden-1981, Collection -street, biker inspired wear. The interior design of the shop more than a nightclub interior. In 1970's fashion began to be replaced with layers , oversized styles. Sportswear became important , new high technology fabrics often emblazoned with logos. They started with sportswear instead of being start with chiffon dresses.
The rain jacket-1985-87 , inflatable plastic rain jacket B'boy jacket became popular with clubbers .Addition ear and tail are typical koshinos eccentric design.
Hynos collection spring summer 1984, Witches collection autumn winter 1983-84 are best known.
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