Lounge Jogger For Womens. Like any theory of art and design, fashion theory endeavours to interlace scientific methods and creative design processes in a productive way, in order to establish a self-reflective form of cultural practice. Theory in the sense of perception and
reflection is also a creative process and a form of design. Its field of application is universal, for it refers to everything that can be observed.
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At the beginning of the twentieth century, artistic aspirations were defined in manifestos. The avant-garde in contemporary art and film declared itself via manifestos and dogmas in which aims and ideals were laid down, the need for innovation was expressed, and delimitations and breaks with tradition were demanded in a radical and ultimate way.
Since the end of the twentieth century, high-tech textiles as well as ecologically and ethically acceptable textiles have been coming to the fore. Textile research institutes focus globally on climate and body control microfibres, thermal shape memory fabrics, and colour changing and retro-reflective materials, but smart textiles have not reached the major market yet.
When Clothes Become Fashion
On the one hand, this means that the subject of a fashion theory is the methods and techniques of creative design, the structural features of clothing products and their visual and verbal representations. On the other hand, it examines the legitimating principles and social contexts of fashion that develop within a culture.
The insights presented systematically in the following are intended to constitute knowledge and enable experience in a manner oriented to activity and process. To this purpose, hierarchic distinctions such as the one between theory and practice will be suspended. In the sense of the statement ‘Everyone knows what is beautiful—that is why there is so much that is ugly,’ theory may increase the quality of both design and utility.
Marcel Duchamp was the first artist to thematise the function of art along with its purely visual principles of contemplation, and to question it by involving philosophical and technological insights. Literally, he drew attention to the limited information of visual reception by showing how a change in meaning could be brought about through the intellectual reception or, respectively, nonreception of a work.
Duchamp came to the conclusion that the viewer ‘makes’ art. Duchamp’s conclusion can be transferred to fashion, inasmuch as the viewer ‘makes’ clothing into fashion. This meets the extravagant haute couture model’s claim to be fashion, just as an item of clothing becomes the fashion only when it is worn by a specific group within society