Yıl: 2019 Cilt: 9 Sayı: 4 Sayfa Aralığı: 546 - 554 Metin Dili: İngilizce DOI: 10.7456/10904100/006 İndeks Tarihi: 15-06-2020

NARRATIVES OF A DESIGNER’S COLLECTION: FASHION SHOWS AND ARTISTIC APPLICATIONS

Öz:
Fashion weeks are of significant importance since in addition to new designs to present, within thoseweeks a fashion shows’ effect sometimes moves ahead of the designs. When collections arecompleted, fashion designers introduce them through the “fashion show,” a field used to present theircollection ideas in an impressive and striking manner. Through this form, the designer employsperformative presentation to help put across the intellectual message, the allure of a fashionablecreation, or to mediate diverse creations in a visual way as a collection. Fashion shows have a strongimpact due to the atmosphere created which is surrounded by music, video art, performance and stagedesign. These 20-25 minute shows represent the whole collection through the background idea of thecollection and designer’s inner world, by using colors, textures, stories, forms and visuals. Thus, anartistic approach is key when designing a show in order to reveal the collection’s idea in its mostrelevant form. The aim of this paper is to examine how fashion shows are curated by artisticapplications and to reveal the ways of narrating stories which are not written but are conveyed tocommunities through performative presentations. In this respect, an interpretative approach wasadopted and related artistic applications from contemporary examples held between 2013 and 2018were analyzed as part of narrating a collection. The finding of this study is that the audience hasgained a new role as becoming participants in the fashion shows themselves with the opportunitiesoffered by technological developments which creates new meanings for the fashion shows. It isunderstood that the function of fashion shows is now changing from a means of promotional toaudience communication.
Anahtar Kelime:

TASARIMCININ KOLEKSİYON ANLATILARI: MODA GÖSTERİLERİ VE SANATSAL UYGULAMALAR

Öz:
Moda haftaları, yeni tasarımların sunuluyor olmasının yanı sıra, etkisinin bazen tasarımların önüne de geçebildiği ciddi bir öneme sahiptir. Moda tasarımcıları koleksiyonlarını tamamladığında, koleksiyonun ana fikrini etkin ve çarpıcı bir biçimde sergilemek için tasarımlarını “moda gösterileri” aracılığıyla sunmaktadır. Bu yöntemle tasarımcı, düşünsel mesajını, koleksiyonun büyüsünü iletmek veya farklı yaratıları bir koleksiyon olarak görsel bir şekilde ifade etmek amacıyla performatif bir sunum kullanır. Bu yönüyle moda gösterileri, müzik, video sanatı, performans ve sahne tasarımı ile çevrelenmesinden ötürü güçlü bir etkiye sahiptir. Bu 20-25 dakika süren gösteriler, renk ve dokular, hikâyeler, biçimler ve görseller kullanılarak tasarımcının iç dünyasını ve koleksiyonun arka planındaki fikirleri temsil etmektedir. Bu nedenle, koleksiyonun fikrini en uygun biçimde ortaya koymak için bir gösteri tasarlarken sanatsal bir yaklaşımda bulunmak önemlidir. Bu makalenin amacı moda gösterilerinin ne tür sanatsal uygulamalar gerçekleştirdiğini incelemek ve gösterilere ait yazılı olmayan, fakat performatif sunumlarla anlatılan hikâyelerin topluluklara hangi sunum şekilleriyle aktarıldığını ortaya koymaktır. Bu doğrultuda, yorumsamacı bir yaklaşım benimsenmiş olunup, konuyla ilişkin güncel örnekler 2013-2018 yılları arasında düzenlenen moda gösterilerindeki sanatsal uygulamalardan elde edilerek koleksiyon anlatımının bir parçası olarak incelenmiştir. Makalenin bulgusu, teknolojik gelişmelerin sunduğu olanaklarla yeni anlamlar kazanan moda gösterilerindeki izleyicinin performansı gözlemleyen kişi olmaktan sıyrılarak, moda gösterilerine bizzat katılan kişi olarak yeni bir rol edindiği üzerinedir. Moda gösterilerinin işlevinin artık tanıtım araçlarından farklılaşarak, izleyiciyle iletişim kurma yönünde değiştiği anlaşılmaktadır.
Anahtar Kelime:

Belge Türü: Makale Makale Türü: Araştırma Makalesi Erişim Türü: Erişime Açık
  • Adams, Brittany. (2014). “Spring 2015 Ready-To-Wear DKNY”, https://www.vogue.com/fashionshows/spring-2015-ready-to-wear/dkny (Accessed on: 23.02.2016).
  • Arnold, Rebecca. (2009). Fashion: A Very Short Introduction, New York: Oxford University Press.
  • Barnard, Malcolm. (2013). Fashion as Communication, New York: Routledge.
  • Barthes, Roland. (2013). Fashion Language, Sydney: Bloomsbury.
  • Bourdieu, Pierre. (1993). The Field of Cultural Production: Essays on Art and Literature, Cambridge: Polity.
  • Colman, David. (2014). The Cloud-Filled Set of Marc Jacobs’s Fall 2014 Fashion Show, https://www.architecturaldigest.com/story/marc-jacobs-fall-2014-fashion-show-clouds (Accessed on: 02.11.2018).
  • Currid, Elizabeth. (2007). The Warhol Economy: How Fashion, Art & Music Drive New York City, New Jersey: Princeton University Press.
  • Davis, Fred. (1997). Moda, Kültür ve Kimlik, (Translation: Özden Arıkan), İstanbul: Yapı Kredi Yayınları.
  • Duggan, Ginger Gregg. (2001). “The Greatest Show On Earth: A Look At Contemporary Fashion Shows and Their Relationship to Performance Art”, Fashion Theory, 5(3), pp. 243-270.
  • Entwistle, Joanne. and Rocamora, Agnès. (2006). “The Field of Fashion Materialized: A Study of London Fashion Week”, Sociology, 40(4), pp. 735-751.
  • Finkelstein, Joanne. (1996). Fashion: An Introduction. New York: NYU Press.
  • Hong, Hye. Rim. and Kim, Young. In. (2014). “Communication Characteristics of Fashion Show Using Digital Images”, Journal of the Korean Society of Costume, 64(6), pp. 1-15.
  • Kepes, Gyorgy. (1996). “Kent Ölçeğinde Dışavurum ve İletişim Üzerine Notlar”, Cogito, 8, 177-190.
  • King, Joyann. (2014). “Karl Lagerfeld Stages Chicest Supermarket Ever at Chanel”, http://www.harpersbazaar.com/fashion/fashion-week/a1774/chanel-grocery-store-show/ (Accessed on: 11.06.2016).
  • Kuruc, Katarina. (2008). “Fashion as Communication: A Semiotic Analysis of Fashion on ‘Sex and the City’”, Semiotica, 171, pp. 193-214.
  • Loschek, Ingrid. (2009). When Clothes Become Fashion: Design and Innovation Systems, Berlin: Berg.
  • Marshall, G. and Scott, J. (1998). “A Dictionary of Sociology”, United States: OUP Oxford.
  • Mower, Sarah. (2018). “Fall 2018 Ready-To-Wear Gucci”, https://www.vogue.com/fashionshows/fall-2018-ready-to-wear/gucci (Accessed on: 16.04.2018).
  • Odabaşi, Sanem. (2018). “DKNY–City Connection: The Impact Of New York City on the Brand and the Designer”, International Journal of Fashion Studies, 5(2), pp. 373-380.
  • Skov, Lise, Skjold, Else, Moeran, Brian, Larsen, Frederik. and Csaba, Fabian. F. (2009). “The Fashion Show as an Art Form”, Creative Encounters Working Paper, 32, Copenhagen: Copenhagen Business School.
  • Svendsen, Lars. (2006). Fashion: A Philosophy, London: Reaktion Books.
  • The Mercury News, (2018). Photos: Gucci runway show features severed heads, ‘dragon’s puppies’ https://www.mercurynews.com/2018/02/21/photos-gucci-runway-show-features-severed-headsdragons-puppies/ (Accessed on: 06.09.2019).
  • Tungate, Mark. (2006). Modada Marka Olmak: Armani’den Zara’ya Moda Devlerinin Marka Oluşturma Tarzları, (Translation: Günhan Günay), İstanbul: Rota Publication.
  • URL-1 (2014). http://tinysparklythings.blogspot.com/2014/03/chanel-goes-grocery-shopping-withready.html (Accessed on: 06.09.2019).
  • URL-2 (2014). http://www.buro247.me/fashion/news/opening-ceremony-aw14-chocolate-wall.html (Accessed on: 06.09.2019).
  • Volonté, Paolo. (2012). “Social and Cultural Features of Fashion Design in Milan”, Fashion Theory, 16(4), pp. 399-431. Warf, Barney. (2000). “New York: The Big Apple in the 1990’s”, Geoforum, 31(4), pp. 487-499.
  • Xu, Yi. and Zhang, Mei. (2011). “An Analysis of Marketing Function of Fashion Shows”, R. Wang and L. Huawu (eds.), Advances in Textile Engineering, Switzerland: Trans Tech Publications, pp. 607-610.
APA ODABASI S (2019). NARRATIVES OF A DESIGNER’S COLLECTION: FASHION SHOWS AND ARTISTIC APPLICATIONS. , 546 - 554. 10.7456/10904100/006
Chicago ODABASI SANEM NARRATIVES OF A DESIGNER’S COLLECTION: FASHION SHOWS AND ARTISTIC APPLICATIONS. (2019): 546 - 554. 10.7456/10904100/006
MLA ODABASI SANEM NARRATIVES OF A DESIGNER’S COLLECTION: FASHION SHOWS AND ARTISTIC APPLICATIONS. , 2019, ss.546 - 554. 10.7456/10904100/006
AMA ODABASI S NARRATIVES OF A DESIGNER’S COLLECTION: FASHION SHOWS AND ARTISTIC APPLICATIONS. . 2019; 546 - 554. 10.7456/10904100/006
Vancouver ODABASI S NARRATIVES OF A DESIGNER’S COLLECTION: FASHION SHOWS AND ARTISTIC APPLICATIONS. . 2019; 546 - 554. 10.7456/10904100/006
IEEE ODABASI S "NARRATIVES OF A DESIGNER’S COLLECTION: FASHION SHOWS AND ARTISTIC APPLICATIONS." , ss.546 - 554, 2019. 10.7456/10904100/006
ISNAD ODABASI, SANEM. "NARRATIVES OF A DESIGNER’S COLLECTION: FASHION SHOWS AND ARTISTIC APPLICATIONS". (2019), 546-554. https://doi.org/10.7456/10904100/006
APA ODABASI S (2019). NARRATIVES OF A DESIGNER’S COLLECTION: FASHION SHOWS AND ARTISTIC APPLICATIONS. The Turkish Online Journal of Design, Art and Communication, 9(4), 546 - 554. 10.7456/10904100/006
Chicago ODABASI SANEM NARRATIVES OF A DESIGNER’S COLLECTION: FASHION SHOWS AND ARTISTIC APPLICATIONS. The Turkish Online Journal of Design, Art and Communication 9, no.4 (2019): 546 - 554. 10.7456/10904100/006
MLA ODABASI SANEM NARRATIVES OF A DESIGNER’S COLLECTION: FASHION SHOWS AND ARTISTIC APPLICATIONS. The Turkish Online Journal of Design, Art and Communication, vol.9, no.4, 2019, ss.546 - 554. 10.7456/10904100/006
AMA ODABASI S NARRATIVES OF A DESIGNER’S COLLECTION: FASHION SHOWS AND ARTISTIC APPLICATIONS. The Turkish Online Journal of Design, Art and Communication. 2019; 9(4): 546 - 554. 10.7456/10904100/006
Vancouver ODABASI S NARRATIVES OF A DESIGNER’S COLLECTION: FASHION SHOWS AND ARTISTIC APPLICATIONS. The Turkish Online Journal of Design, Art and Communication. 2019; 9(4): 546 - 554. 10.7456/10904100/006
IEEE ODABASI S "NARRATIVES OF A DESIGNER’S COLLECTION: FASHION SHOWS AND ARTISTIC APPLICATIONS." The Turkish Online Journal of Design, Art and Communication, 9, ss.546 - 554, 2019. 10.7456/10904100/006
ISNAD ODABASI, SANEM. "NARRATIVES OF A DESIGNER’S COLLECTION: FASHION SHOWS AND ARTISTIC APPLICATIONS". The Turkish Online Journal of Design, Art and Communication 9/4 (2019), 546-554. https://doi.org/10.7456/10904100/006