In an interview, sometime near the end of his career, YSL had famously confessed that his one regret was that he had not invented blue jeans. His reason: “They have expression, modesty, sex appeal and simplicity. All that I hope for in my clothes.” His regret contains an important lesson for designers: that the true power of design- its reach, impact and appeal lies beyond the individual intelligence and capacity of the designer. It can only belong to the collective wisdom of a people, living in and through a particular point in time and in accordance with shared values. It’s important that designers come to critically understand that they can only propose ideas, but it’s the social, cultural, historical and economic forces that will eventually mold the idea in order to own it. It’s when an idea is owned by the people, that it becomes fashion.
Fashion is not what fashion designers create, fashion is what the people make. Intrinsic to the design process of fashion therefore, are movements (political, social and cultural), the ideas that they generate, their creative interpretation by fashion designers, the myths around them that are popularized by the media and the marketing strategies that package them as an ‘essential, must-have luxury’. Design is not easy. To add to its complicated make-up, is our own misconception of what design is.
Most of us think that design is restricted to the generation of ‘new’ ideas. What we must come to see, is that design is not just the process by which ideas are ‘made’, but it’s the process by which ideas are ‘made instrumental’. In other words, ideas by themselves are not enough. Ideas are hypothetical. They are assumptions, imaginations and speculations that need to be seen in the light of ‘knowledge’ or ‘what we already know’. And yet, that in itself is not a sufficient curation of an idea. Knowledge must be challenged by experience. The young must be challenged by the old, the eclectic by the common place and the conceptual by the pragmatic.
Design is not a process by which things are made extraordinary, it is on the contrary, the ways in which things are made ordinary and everyday. The design of fashion therefore, must look beyond the pretensions of artistic expression. It must, ever so often, let go of the desire for the ‘spectacular’ and the ‘original’ and instead look at ‘the made’ and ‘the worn’. In them, lies a treasure trove of attributes that have stood the test of time. Coming to see these attributes is the first step in making them ‘instrumental ideas’ and furthering them. These ideas can be effectively re-interpreted to remind people of a time gone by, or to challenge the state of the art or to prompt an attitude of bravado in uncertain times.
Fashion, after all is a language. And like any other language, it is enriched by use and the wealth of meanings that a people bring to it. The design process of fashion must factor in this understanding. As designers, we are interpreters of feeling and expression. And although the glamour of new forms is enticing, if there exists a chasm between the prevailing feeling and the proposed form- the outcome is a failed design. Design is so much more than a search for differentiators, it is- on close scrutiny- a search for wisdom.
Image Source: mydailynews; the outsiders.