Exploring the Power of Identity

According to Jenkins “Identity is a negotiable concept” (Tully.A.2012.Identity; Lecture 4.LisofPta). The word identity means different things to different people. For others identity is individualism, uniqueness, distinctiveness, character, personality or self. In our everyday lives we express certain elements of identity within and out of our social circles. We are able to do this through our sexes, traditions and customs, personas and economic classes.

How do Designers Construct their Identity?                                                                               

To understand where we are today we need to understand where we come from. Kim Gush (2012). In other words to understand who we are and what we stand for, we need to look back and reflect on and examine our past. In doing this we allow ourselves the opportunity of recreating our own identity through challenging and questioning historic collective beliefs and pre-determined myths. Our postmodern view of identity is that it is hybrid, fragmented and unstable. However world renowned designer, Vivienne Westwood, is primarily known for mostly referencing her own British heritage in her collections and has managed to uphold this image throughout many different decades. It’s almost as if her identity has not been influenced by postmodernism. In 1989 she was listed as one of the six most influential designers by John Fairchild. In 1990, Westwood was the British designer of the year and in 2006 she was appointed a British Dame. In 2007 she achieved the Outstanding Achievement in Fashion at the British Fashion Awards. Westwood has been quoted saying: “My design signature is the adaption of historical garment construction into modern clothing.” And her inspiration is drawn from classical music, books and paintings.

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On the other hand Kim Gush celebrated as the new craze and showcased her first collection (Immorality of Divine Rule) at the Foschini Fastrack Show inspired by the Chinese terracotta army. As a first time designer many could argue that she is still in the process of constructing her identity. Kim sees herself as an aspiring fashion designer with a strong passion for film and costume. Her work is experimental and she designs the entire look from the garments, hair, makeup and the accessories. Her love affair with ancient cultures, myths, legends and the human psyche is what inspires her work. Through her designs she aims to depict dark untold secrets and by using previous and innovative techniques to create futuristic stories. Apart from the post-apocalyptic-ninja attributes, this collection references elements of primitive mysteries and pre-historic traditions to construct Kim’s identity and design signature. In this collection Kim has explored the elements of gender and androgyny (within the large scope of identity) by combining a mixture of masculinity and femininity.

Palesa Selebogo

What can truly be described as art?

Above is a video created by Kim Gush with help from Nikita Newton, Peter Gildenhuys, Jared Musiker and Theunis Stofberg. This video is called The Immortality of Divine Rule. The AUTUMN/WINTER 2012 collection created by Kim Gush, is shown in this video. As an aspiring fashion designer Gush favours combining her knowledge of film and costume to create something innovative with her ranges. Therefore she does not only focus on the garments themselves but also everything that goes with it. Whether this video can be described as an artform or not is up for discussion. 

In my personal opinion, the way that Gush was able to create a video that relates and explain so much of the symbolic meaning behind the range was spectacular. This video describes and compliments her range, in such a way that you are able to recognise the origins of her inspirations. You can truly be called an artist when you are able to combine several different mediums into something so successful.

In my opinion…Kim Gush, for lack of a better word, nailed it!

Sune de Beer

14.04.2012

Kim Gush

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  "To understand where we are today, we need to explore where we came from." (Kim Gush 2012)

This motto is what upcoming fashion designer Kim Gush lives by. I chose her for this entry because her work contains several elements of symbolic meaning. I am also intrigued by the way that she expresses herself and her passion for what she does and believes in. The purpose of this blog is to explore what designers, Kim Gush specifically, use as inspiration, where they get it from and why they use it. Alison Lurie claims that clothes are almost the equivalent of words and sentences. She suggests there are many different languages of attire, each with its own grammar and vocabulary, whose meaning can be read almost as if one, were looking at a book (Lurie 1992:4). 

Kim Gush is famous for creating unique ranges that can almost be described as art. Her background in film and costume enables and also inspires her to create something innovative. Gush has a passion for ancient cultures and histories. Therefore her range, The Immortality of Divine Rule (A/W 2012) was created.  She drew inspiration from the Chinese terracotta army. 

Gush states that the story tells of the sacrifice and burial of soldiers, mistresses and workmen in order to create the emperor’s ideal afterlife. Her range signifies a visual plethora of the creatures that may be resurrected from this tomb. (Gush 2012)

Gush aims to inspire young fashion designers to think out of the box. “Always offer something new and creative” (Gush, 2012).  

When I look at this range, without any prior knowledge of its origins and inspirations it comes forth as something extremely innovative, brave, fresh and even provocative. It also has strong Gothic elements. These elements are clearly noted in her choice of colors, fabrics, and styling. Even the soundtrack that was used when creating the film aspect of the range was dark and mysterious.

There are also several silhouettes and shapes that represents past fashions. I have also noticed certain masculine vs. feminine elements. This will then refer to aspects of the present where women borrow from men’s closets and vice versa. The cowl neckline or the robe/dress garments refers to an aspect of femininity. Therefore the symbolic meaning behind the range and the purpose there of is clear.

Gush aims to inspire people to be more experimental, not only with their clothing but with everything that goes with it.

She is an aspiring young fashion talent that South Africa is yet to experience to the fullest. We hope to see more of her work in the future.

Sune de Beer

12.04.2012

Blog Introduction

In analysing the individual Fastrack process, we will be focusing on two of the designers, Kyra Moon-Halfpenny and Kim Gush, both of whom were selected within the final four to be assisted further in their careers, but through very different looking ranges.

In assessing each of them we will be researching their respective backgrounds, their sources of inspiration and incorporating their personal reports regarding the ranges, but will also be questioning various sources, with varied backgrounds themselves, to understand the impact and reception of these collections within the wider audience.

P. Calefato begins a writing called The Clothed Body (2004), with a quote saying, amongst other things, that, “...from the external form of clothes one cannot infer the form of the thought they clothe...” taken from Wittgenstein (1922).

Whilst M. Maynard starts out his offering, Style and Communication (2004), with the words “All clothing is a form of communication...”

Within an article called Written Clothing, in The Fashion Reader, Barthes (2011) goes further in discussing the different formats that clothing is represented in these days. 

So from originally being conceived as an idea by the designer, to going into a physical garment warn by the models, to ending up as a runway show and a set of photos or a video, sometimes accompanied with worded reports, when finally presented to the audience, prospective client or possible employer, how does meaning manifest and communicate itself within these different incarnations?  Especially given the fact that neither is based on a well defined local identity, but rather compiled from various widely varied sources?

Michiel van Staden

AFI Fastrack

Over the last couple of years, the Fastrack competition has become a fixed part of the Joburg Fashion Week showcase, organised by African Fashion International and sponsored by Foshini during the A/W 2012 edition.

Within an article written by Londiwe Mbhele, appearing on the iFashion website on Tuesday the 20th of March 2012, established designer David Tlale is quoted as having said that, “Just like I got discovered at the Elle New Talent competition, I feel that such platforms are important for young talented designers who are just starting out. It gives them a platform to showcase their creativity, get discovered and hopefully land a job from there.“  With Aspasia Karras editor of Marie Claire South Africa adding that “I think it is an excellent project conceived by AFI and Foschini that will make a sustainable impact on 4 young designers careers.”

Kyra Moon-Halfpenny, one of the participating designers selected within the final four, reflected on the experience saying that, “It teaches you to be very organised and very professional. When putting garments together (sowing them) being neat and paying attention to detail is very important as well as treating your garments like prized possessions. Lastly believing in yourself and going with the creative magic that flows through you when designing a collection.”

By listening to the different views, the desired result of the competition appears to be a balance between creative showcase and career preparation, but how does an individual designer get to this opportunity and how do they approach this goal?

Michiel van Staden