Short Communication, J Fashion Technol Textile Eng Vol: 0 Issue: 0

Designing Conceptual Dresses with “Water” Content and Protecting Environment Using Hydrogels.

Elahe Sadeghi¹, Salar Zohoori^2* and Abolfazl Davodiroknabadi³

¹Department of Design and Clothing, Imam Javad University College, Yazd, Iran

²Department of Textile Engineering, Yazd University, Yazd, Iran

³Department of Design and Clothing, Yazd Branch, Islamic Azad University, Yazd, Iran

*Corresponding Author:

Salar Zohoori
Department of Design and Clothing, Imam Javad University College, Yazd, Iran
E-mail: s_textile@yahoo.com

Received Date: July 21, 2021; Accepted Date: August 23, 2021; Published Date: August 30, 2021

Citation: Sadeghi E, Zohoori S, Davodiroknabadi A (2021) Designing Conceptual Dresses with “Water” Content and Protecting Environment Using Hydrogels. J Fashion Technol Textile Eng 9:8. 217.

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Abstract

Keywords: Conceptual Dresses, Hydrogel, Agrotextile, Environment, Water

Keywords

Conceptual Dresses; Hydrogel; Agrotextile; Environment; Water

Introduction

Conceptual art is a way of presenting the contemporary work of art in which a particular idea and concept, which is usually individual, complex and general, is abstract and irregular and based on the banishment of the aesthetics of form. Conceptual art is different from “concept” as the content of works of art, but it can be considered as an abstract form of thought that arises in the artist’s mind through meaning and work of art and finally displayed in a proposed structure and in a very diverse order. In this way, the conceptual work of art has a variable property commensurate with the overall performance and public relations between its components. For this reason, among the artists, this movement of meaning of art, the work of art and its relations with human beings, nature and aesthetics are questioned again from the perspective other than modernism [1].

In conceptual works of art, the relationship between the artist, the work of art and the audience is transformed. In this way, the conceptual effect is not the simulations of nature and its various forms, but the artist, relying on his individual logic, utilizes the possibilities of language and direct expression in nature and in life, and in many cases, in addition to what objects, political, social and technological facts constitute his work. In this regard, the audience and sometimes artist is the part of the whole and form of the work of art and its meaning.

Modern art, conceptual art, and its various manifestations show only the distorted form of art. But the reality is that the evolution of art is unpredictable, and it seems that in postmodern society a patriarchal taste has prevailed over the evolution of art [1].

Conceptual Dress design

The term conceptual dress refers to the design of clothing whose purpose is not to cover the human body, but to display human traits, feelings or thoughts. In fact, conceptual dress is considered to be the means for conveying an inner thought or attribute, not necessarily to cover all or part of one’s body (of course the most important goal in designing clothes), and this is exactly the purpose of conceptual art follows. In the sense that the artist’s action is only a prerequisite for showing the nature of the work of art and idea, and any result of the work is only a preliminary manifestation of a general conclusion that the artist has reached.

In this way, the design of conceptual dresses enters the field of conceptual art, and it can be said that one day conceptual dress will expand to compete with the concept of clothing and occupy a wider space, especially in theater and cinema. This phenomenon is the result of a great change that began in the late twentieth century and reached the third millennium, and introduced a new generation of innovators and thinkers to the world of art and the art of clothes designing [2].

Looking at the history of clothing, it can be seen that cultural, economic, political, industrial, scientific, and artistic developments have continuously affected clothing, taking it out of the exclusive dimension of clothing with a wider dimension. Today, many talented costume designers in the field of art seek to design clothes with the influence of other arts and sciences and immerse in the form of common artistic styles, and provide the possibility of wearing clothes according to qualities, spirituality, emotions, psychological phenomena and human mental imagery. As the painting expresses the feelings of its creator, in the field of the art of clothes designing, the body percept the canvas and means of expressing the feelings or mindsets and the inner and psychological concepts of human beings such as anger, happiness, good and evil, love and hate, desire, etc. Undoubtedly, if conceptual dresses are combined with art such as theater and cinema, will bring completely different and original changes and concepts in the future, whether in the field of theater and cinema will follow in cloth designing.

Following the evolution of art in various aspects of photography, film, layout, video art, etc., where artists decorated their works with signs and concepts from the fashion world, contemporary fashion designers also paid more attention to the subject of their collections and gave a conceptual color to clothes, and gave their performances, by each presenting in a unique way their personal or social concerns to the audience in the costume shows [3].

Conceptual artists with a tendency to design clothes

These artists added more artistic aspects to fashion with their conceptual designs and bold advertising campaigns. Also, showing their clothes were performances that called for the end of the period and the beginning of a new revolution. Costume shows were replaced by executives that were more like performances.

In the 1960s Conceptual artists, like Christo, invented clothing to be dressed as a work of art. Their costumes are key components of the 1960s as “performing arts”, and included a variety of new and unusual materials that were made along with clothing and short coats of that time. Thus, fluctuations in the 1960s, in New York, Paris, and London, artists such as Rudy Guernreich, Pakoraban, and Mary Quant emerged in the field of costume design from what was common in an unconventional and different way. Since the 1960s, ideas flowed freely between art and fashion, and we see artists and designers like Mona Hatum and Martin Margilla. They explore a way to establish “identity and originality” through clothing. Other artists, such as Helen Story, Georgina Goodley, and Anne Hamilton, use new ways to display their clothes, with an original idea behind it. Now, the concept of clothing is nearing its boundaries; Artists and designers use a variety of materials such as copper, newspapers, rubber bands, human hair, thorns, porcelain and woven stainless steel to make wearable and non-wearable clothing [3].

Another work is by the French artist Paco Rabanne, who is known for innovative use of materials. In 1960, he responded to the rise and growth of “young culture” by making chain armored clothing, using aluminum or plastic shapes (or, in this case, buttons). Paco Rabanne describes making clothes using pliers instead of thread and needle.

The work of the American artist, Kosama is a point between the art of arrangement and performance, and his clothes origins from a strong desire to glue dirty and unpleasant fabrics together, which reflects his interest in the connection between “personal and formal”, “basic and mechanical” and “material and mental” subjects.

Yayoi Kosama is an 83-year-old Japanese woman, painter, layout activist, and creative fashion designer. Her paintings are on the list of the most expensive paintings by living artists in the world. Kosama art is a rare phenomenon in the world of visual art that cannot be properly placed in the field of painting, sculpture or arrangement. The original signature and identity of her works are multiple dots on the surface of objects or places. She can decide in an instant and turn a tree with large and small dots into a beautiful work of art [4].

Since 1967, when hippies became popular, in protest of the Vietnam War, she has performed extensively in Central Park and Brooklyn, New York. In these performances, the body entered her works as a new medium and she painted spotted drawings on the bodies of the audience in the streets and parks.

All the performances of Kosama were filmed and turned into a film called “Anti-Kosama”. The 1968 self-produced film won the fourth Belgian International Experimental Film Competition and won the second prize at the Maryland and Ann Arbo Film Festivals. In the same year, Kosama Fashion Company opened, and she began selling her avant-gardes goods through the American retailer Blue Mingdiles. Kosama’s costume designs were similar to her atmospheres, so that it is easy to put her environmental works and her clothes in one collection. She personally designed the costumes and painted abstract patterns on most of the costumes using bright plastic colors (Figure 1).

She believed that in order to have a modern society, one had to innovate and not to follow the old ways and the usual trends of clothes design of the last two decades, and for this purpose, she created her own style and designed free models for men, women and sometimes clothes for both. The silver squid is one of her avant-garde designs, which includes a hooded dress that shows the front of the chest.

Yohji Yamamoto, a designer who starts 90% of his fashion shows with a black dress, and black is the dominant color of all his clothes. According to his, the color black, shows proudness and balance. For nearly 40 years, he has been very subtle and abstract in constructing and deconstructing fashion boundaries.

This Japanese avant-garde costume designer spends twice as much time as the standard on preparing his clothes. He says, “I was born to be a poet”. This poetic feeling is quite evident in the maze of his conceptual clothing. Most likely, this feeling has made the aesthetic sense of his works pleasing to the taste of his audience and, unlike other conceptual artists, it is also economically profitable. Based on Yamamoto’s close friendship with Riquakakubo, the two were very similar intellectually. Therefore, Yamamoto also tries to make his designs gender-independent (Figure 2).