Essay on Postmodernism in Fashion

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The genius designer Yves Saint Laurent was born in Algeria in 1936. He has had high artistic talent since childhood. The 17-year-old Yves Saint Laurent won third place in the International Wool Design Competition and was discovered by VOGUE. At the age of 21, he became the artistic director of Dior. In 1966, at a time when the perception of women wearing pants was considered off-kilter and inappropriate, The 30-year-old Yves Saint Laurent introduced the world to Le Smoking, a tuxedo-style suit that quickly became the epitome of sex appeal. Though today we view the iconic look as an interesting alternative to the Little Black Dress, it signifies more than a party outfit: It’s a statement for women (Kleist 2015). The le-smoking suit was made up of a wool jacket, a satin cummerbund, and fairly loose trousers. It perfectly supports the female shoulder line and the straight figure. “le smoking marked a shift in attitude towards gender differentiation in fashion. However, carried a certain sense of power with it that has remained timeless”(Bannerman 2018). Its emergence has given women who are eager for equality and freedom a vent. Saint Laurent’s design demonstrates the concept of gender equality, full of rich modus of postmodernism. This is not only an important milestone in the fashion circle, but also a sign of social progress in the 1970s.

When people are still immersed in the elegant modernist style, designers begin to use the post-modern bold and lively design to impact and replace traditional art. Vivienne Westwood, a punk godmother from the UK, In a rude manner, leather, cloth, burrs, wood, acrylic, plastic, and other unpredictable materials are combined to lead the ridiculous trend of wearing underwear or rocking with an unorthodox bold attitude. She is also a contradictory researcher: she loves history but she has never been respectful. She has drawn from traditional historical costumes into a post-modern style of design. She has constantly brought the qualities of traditional costumes from the 17th and 18th centuries. In particular, she brought street fashion successfully into the main field of fashion. At the same time, she brought the charm of the Scottish plaid to the utmost, pushing the British charm to the highest point. She is always looking for creative elements from tradition, reappearing outdated corsets, platform heels, and classic Scottish plaids, and again becoming a new fashion item, which is undoubtedly the charm of Vivienne Westwood. In all respects, Vivienne Westwood is an unconventional postmodernist designer and deconstructing artist, both in behavior and in design.

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