Katniss Everdeen as a Fashion Icon

We were asked in this weeks lecture to find a costume from a film which resonates in our mind and is something which has been of an inspiration to us personally. The costume design from the Hunger Games trilogy has always been something I admired. The power of clothes in order to describe the change in character is particularly evident here as Katniss changes from an innocent girl into someone who revolts against the capitol. Judianna Makovsky is the costume designer for the film and found her inspiration from North American artefacts and coal mining industries. Furthermore the colours used on the costume are dim and dull due to the fact that coal always leaves a black dust behind it, therefore nothing in the coal mining district could be completely vibrant. The Hunger games have become part of teenage culture, and Jenifer Lawrence somewhat of a fashion icon. It is therefore necessary to understand how this has influenced the way teens now express themselves. An example of this would be to look at the hair braid that Katniss is famous for and then link this back to the amount of braiding we can now see in fashion magazines.

 

Molly Creeden (2012) Dressing the Hunger Games: costume designer Judianna Makovsky http://www.vogue.com/873551/dressing-the-hunger-games-costume-designer-judianna-makovsky/ (24/11/2015)

 

Jonathan Van Meter (2015) Jenifer Lawrence is Determined, Hilarious, and Above All- Real http://www.vogue.com/13368193/jenifer-lawrence-december-2015-cover-hunger-games/ (24/11/15)

Designing a New Garment

During this weeks lecture we had to propose a new item of clothing which was human centred. This meant also thinking about user participation within the design process in order to create a garment which the end customer would relate to. The idea which my group came up with collectively was to create a multipurpose shoe which the user could customise. There would be a mesh slipper which would be placed around the foot and then different bodies and soles could be clipped n around the main element. These separate parts could be changed according to the weather conditions outside, or for the formality of the event.  The initial designs we thought about was to have a boot, brogue and trainer which could all have either a flat, heeled or sole with treed. Within the design process we considered the Frankenstein model approach, where a group of people could cut and paste their preferred features. This would then be a clear representation of what would be successful on the market and we would go with the majority vote. Another idea which we had was to create a computer programme which the target market could click and drag their favourite designs.

Our very rough notes!

My Archive Visit – Modes and Manners

Asking for something which is not on display is always daunting and that was the obstacle which I had to come over in this task. London Collage of Communication holds a special collection of fanzines which range over a huge number of subjects. To start my process I visited the library where I was able to give some details of the fanzines I would like to analyse. As I didn’t have a specific subject I was interested in I asked for anything they believed to be relevant to my course. I am also interested in fashion illustration so I requested archives which had this element involved within. The archive with I viewed was named Modes and Manners Ornaments by Boehn, Max von (1860-1932) and it was a beautiful book with historic information regarding lace, fans, gloves, walking sticks, parasols, jewellery and trinkets. The text within was in an academic format and was rather difficult to understand at a glance. Furthermore the illustrations within were highly detailed and descriptive as they were the equivalent to a photograph at the time. The archive was beautiful to admire however the content wasn’t particularly useful to me. However the actual process of requesting and viewing the archive catalogue was positive and something that I intend to use again in the near future.