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advance concepts in fashions designs


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Here you have the variance, tone, and imaginative qualities associated with those designers who are pushing the very existing envelope of fashion design.  Even then, as it will later be discussed, the retros are likewise heading for the same objective, though with a distinct Edith Head approach-unknown to these deigners themselves.
Thats to make fashion a part of the mosaic of Art itself.
With this, and peering into the future at the sametime, and the coming of equalitive age when women are realizing their own relative public and nightlife safety, the rules which were the goverance before, are about to be shatterd in the next four to seven years.  Which means I have to date this commnet on February 12, 2007. 
Leading the way are women the designers themsleves - like Germany's Anja.  Sometimes branishing the word usage of womyn, which I now have used often.  None the less, as we start to peer, and with the addtional sociocultural wave of males not ogling that often, though we always will, the impressive array creative dress, and fashion stylings before us is leading us to unkown sociocultural and sociopolitical arenas in human self-expression.  Fashions and their outward modification of what we feel about ourselves, is only a tiny measure of the real circumstance which we are facing.

Coloration of the " Gothic "

  1.  Advanced exploration of a theme or advanced techniques to generate fiber portfolio pieces..
  2. Identification of economic and social forces influencing consumer and fashion futures demand. Color theory and analysis, wardrobing, body type identification, including future body sculptings, and avant garde leading corporate and personal image.
  3. Advancing and Exploring Textile Design Innovational Manufactoring  processes as applied to textiles, includes advanced techniques such as batik, tie-dye and resist, silk screen, block prints and other textile printing or sewing techniques and their processes.
  4. Identification of terminology, manufacturing methods and merchandise quality as they apply to style details, workmanship, construction techniques and wearability of fashion goods.

online _____ sources _____  for _____  investigation


The above [ Hint ] is true genre fashions online publication which attempts to push the limits of fashion creativity from its internal editorial manisfest.


Here [ above ] is another, yet very traditional, form of festive dress styling.  What is the direction being indicated here, and what are the possibilities?
This symbolizes a significant cultural heritage which developed this red feather array garnish, which he is wearing, as  historic value of creativity and self - adoration denoting a custom. socio-cultural perceptions, or religious practice; this should indicate its relative connection to the contemporary mode of designers themselves of today, likewise, engaged in creative designing.  Also, red coloration had a distinct connection to royality and high class, and the elements to produce this color were likewise ( researched ) rare.
Then below and to your left, the coloration is maintained but with a new print mode to high her form and her cultural texture in festive or being very alive form.



We are now approaching an era of additional options in how to design by challenging the present limits.  Moreover, physical breast feature in certain global areas are assuming their natural circumstance [ back to nature ] of infant nutritional support rather than being sexualized; this is the latest cultural wave of centralist feminist strategies IE. La'Lache movements.
There is now speculation that shaving ones legs will likewise be challenged. Body hair is now being looked at in a very different manner as a result.

See additional du avant garde fashions @ avant-garde fashion photography



Bits and Pieces

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Preface Note:

In these following press releases one thing you will notice.  Within du'Avant Garde as a movement within fashions, there are alot of cross overs into other aspects of human civilization.  The central factor of which is that in a more freer mind, the individual can make additional connections elsewhere as a result of a new discovery or personal espoused vision.



I. Beauty, Horror + Biotechnology 

     Skin is the body part most easily altered by human beings, ranging from circumcision to cosmetics to hair removal. Popular demand for aesthetic surgery and dermatology has soared over the past decade. At the same time, tissue engineers have been learning to manufacture living skin in laboratories. Science fiction explores the extreme possibilities of human-technology hybrids in the figure of the cyborg, a living creature with electromechanical body parts.

     Designers have confronted the biomechanical transformation of the human body with horror as well as fascination. The beauty of bodies and objects is submerged in the realm of the artificial, from synthetic materials to digitally manipulated surfaces. Industrial skins have assumed a life of their own. It is a life whose pedigree, however, is more alien than human.

     Video “Beauty, Horror and Biotechnology” by Elke Gasselseder is a montage of clips from films about cyborgs, aliens, and artificial life. Each film comments on the disturbing overlap between natural and artificial skins.

     “Fibre Reactive” is an article of living clothing. As Donna Franklin’s work makes clothing a host, a new symbiotic relationship between fungi and the wearer is created. Although we are accustomed to wearing products made from living organisms, rare indeed is it that we wear materials in a living state. “Fibre Reactive” allows the production of garments begin to link with nature’s rhythms and the growth of organisms. Research into microorganisms gives the garment industry greater room for maneuvering, while putting the conception of apparel into the context of imagination of the human skin, rather than as an independent material.

     Photographer Peter Menzel has been documenting the robot-making technology around the world. Second-Generation Face Robot was taken in Science University of Tokyo in 2000. The laboratory’s focus is on developing robots into a type of socialized animal, or concentrating on the social interaction between robots and humans. For robots to live together with people, the scientists must first make them feel friendly. Consequently, the laboratory is particularly interested in robotics concerned with facial expressions as well as creating electronic structures that emulate happy expressions. 

II. Erotics of the Artificial  

     Skin is the part of the other people that we touch, and the part of us that we allow to be touched. Revealing one’s skin can be an expression of personal affection or public exhibitionism. Skin-to-skin contact is central to human intimacy.

     In an era when sexuality is the subject of scientific study and medical control, objects with soft, washable surfaces and flexible latex skins reflect on our desires for hyper-cleanliness and mediated—rather than direct—touch. Contemporary eroticism often comes clothed in latex. An aesthetic of hygiene—kinky and clean—envelops the surfaces we touch. 

     In their work “TechnoLust,” industrial designers Carla Ross Allen and Peter Allen adopt a hard avant-garde science fiction approach, using playful imaginings that originate in cartoons and online games, including 3D scanners, vacuum plastics, nano chips and LED screens as part of high tech fashion equipment, which when worn transport individuals to a virtual erotic game playing world. Another artist Matthieu Manche produces a work from latex materials with its implications of sexual passion and clinical diagnostic function. Functionally latex clothing can not only be worn again and again by many different people it also alludes to the extendability of the skin and body.

     Argentine artist Nicola Costantino creates objects that comment on the meat and leather industries. In the surrealist tradition, her handbags and shoes of “Human Furrier” series are imprinted with tiny images of human nipples and anuses.  Recalling the look of ostrich leather, the effect is at once decorative and alarming. 

III. Body Armors  

     Skin has a vital interior beneath its dead outer surface. Skin’s middle layer, the dermis, is made of collagen and elastic fibers, while the innermost layer of fat insulates heat and protects against injury. These hidden layers provide the supportive padding that shapes the body’s outer envelope.

     Clothing supplements the skin’s defenses against the elements. Contemporary designers have hyper-extended fashion’s protective capacity, creating garments that serve as portable environments in a world defined by leisure and spectacle as well as by nature, terror, and war.

     Italian artist Alba D’Urbano took pictures of her own naked body, copied them onto flat cloth, and then tailored it into a three-dimensional suit that can be worn. These designs reveal that which was originally hidden by clever ‘packaging.’ Through the meticulous manufacturing process, society’s views and thoughts on the female body are revealed. D’Urbano’s recreations force these imaginings on the female form to the surface, conveying sarcasm towards their creation through cultural property.

     Grado Zero Espace Ltd. of Italy combines science labs, research on fiber materials, and designs from a variety of industries in their efforts to research and create highly functional items. This jacket, titled Cooling System, is based on designs for the US army during the Cold War. Within this combat clothing is a cooling system used by astronauts. Using fifty meters of 2mm-wide plastic tubing, this design allows soldiers to fight in very hot conditions, and allows humans to quickly adapt to changing environments despite our biological limitations.

     From being a part of the body to becoming a part of our living environment, clothing can now truly interact within the space between our bodies and our environments. The Transformables by Italian designer Moreno Ferrari, was an epochal transformation of our contemporary environment and culture into clothing, which represented the simultaneous evolution of the human body into organisms that carry their homes with them as they move among different environments. 

IV. Luminous Objects, Luminous Surfaces 

     Skin is said to “glow” in response to youth, health, or happiness. A luminous object appears curiously alive. Artificial light signals the presence of electricity, the life force of digital and mechanical systems.

While some lighting systems serve to illuminate an object, environment, or task area, others emit low levels of light to foreground the fixture itself. Light emanates from pendulous bladders or from bulbs festooned with silicone growths. Luminous rubber skins peel back to direct the flow of light. Such objects invite physical contact as their dull interior illumination draws attention to the surface, infusing their skins with an alien energy, at once comforting and strange.

     The ‘luminous objects’ featured in Second Skin are characterized by the delicate relationships between ‘lighting’ and ‘life’. One example is JINZI lamp designed by Swiss architecture duo Herzog and de Meron for Belux AG. JINGZI resembles a giant, tail-wiggling, forward-moving spermatozoon. Its exterior is made of silicon; with the electronic components wrapped inside of this translucent, membrane-like silicon skin. Interestingly, this lamp-set can be used for multiple purposes; it can serve as a chandelier in the restaurant, as well as a ground lamp prostrating limply on the floor. Given a lampstand, it can also be erected and turned into a standing lamp. To turn on the light with a seamless exterior, all we need to do is to pinch the rear silicon tube and hold it for three seconds.

     Blanket designed by Ditte Hammerstroem has turned an ordinary object of domestic comfort into a responsive organism in her work. The edge of the blanket is bordered with tiny light bulbs, providing illumination for reading in bed or in an armchair. The border lights up when touched. The wool outer layer can be removed and washed.

     Superpatata—a multi-colored latex capsule filled with salt— is a highly experimental piece of lighting design by Héctor Serrano in cooperation with a Dutch company, droog design, in 2000. Various skin qualities and experiences—thick and thin, loose and tight, pinching and tearing—are all projected onto this piece of work. We may determine the brightness, and shift between direct and indirect modes of lighting, by simply altering the shape of the latex capsule. The latex capsule can also serve as a pillow or a buffer. In addition, when piled up, these Superpatatas would immediately turn into a shining piece of art collection in the house. 

V. Living Architechture 

     Skin is a surface that flows from the outside of the body into its internal cavities. New building materials combine surface and structure, creating fluid exoskeletons. Materials such as glass and plastic become plump and pendulous, while the walls of buildings bend, morph, and glow. Flat materials are folded or warped to create load-bearing structures as well as walls with diverse functions. Skins weave through space, shifting from inside to outside, top to bottom, ceiling to floor. 

     The challenges faced by contemporary architects have become completely different from those faced by masters like Michelangelo, Mies van der Rohe, and Louis I. Kahn. The idea of pursuing eternal, unchangingly beautiful architecture has been challenged. How can architects design something that can capture and respond to the demands of daily life? Only by simultaneously fulfilling disparate demands such as, for example, environmental protection, media accessibility, adjustability to fashion, and internal function can they meet the challenges of our era.

     Jan and Tim Edler, the young duo of architects from Germany have been extremely successful in the current trend of fusing visual media with architectural surfaces, and their future continued success is expected. Converting the traditional surfaces of architecture into facades with continuously changing, computer-controlled video causes buildings to switch from their fixed, passive roles to active, speaking ones. On the front façade of Kunsthaus Graz (art museum), Austrian, designed by Peter Cook, one of Archigram’s leading figures, Jan and Tim Edler added 930 round fluorescent lamps, and by slightly modulating each lamp’s intensity, a surface that forms an uninterrupted visual dialogue with the public is created.

     KOL/MAC, a two-man team of architects from New York, developed a new building material, called INVERSAbrane, in an R&D project completed in cooperation with DuPont. The idea for it derived from the structure of soap bubbles. Besides serving the basic function of forming a hard, fire-resistant façade that can freely adjust to environmental conditions, it is intended to provide the building appropriate security and protection and replace the existing membrane structures in green architecture.

      The holes in the wall may be used to collect and store water that may also be used with the sprinkler system. The wall may also be penetrated with other channels and at specially controlled intervals may collect solar energy. They can filter air as it passes from the outside and collect pollutants that are then automatically washed away with natural rainwater. INVERSAbrane’s appearance is a reflection of the coming trend of fusing architecture with biochemical systems; it converts the simple exterior walls of the past to new multifunctional skin layers. 

Skin shallow” design foretell human future 
Gothic intrusion

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London -- 1 August 2007 – Beginning 14 August, UK business support charity Innovative Enterprise Action (IEA) will be distributing free CD’s of its How-To Manual on Public Relations for Fashion and Life Style Companies to small enterprises in selected areas of London. The manual will also be available to download free on www.hybridlab.org. The first company to send IEA proof of having got press coverage after getting the CD will get 100, and the next ten will get 25 each.

The manual has been produced by Marcia Harris, Chief Executive of IEA, James Kinloch, Coordinator and Wendy Lynch, Graphics Design, both of IEA’s Hybridlab website that showcases creative enterprises. All three bring considerable experience and expertise to the project.

“This CD is very user-friendly,” explained Harris. “It makes it possible for anyone who runs a small fashion or life style enterprise to write a newsworthy press release. It also takes people step-by-step through managing an event and shows them how to develop a full public relations campaign.”

“We hope that everyone who receives the CD will send out at least one press release in the next month,” she continued, “so that media focusing on fashion and life style products will have much more information to share with consumers.”

In addition, the CD shows fashion and lifestyle enterprises how to use the web effectively to gain visibility and credibility. Kinloch has used these same techniques himself, to bring the Hybridlab website from about 1000 unique visits/month to over 15,000 unique visits/month in only a year. Hybridlab is currently showcasing indie bands, and will be adding fashion and lifestyle businesses by mid-August.

“IEA provides a wide range of learning and support opportunities to creative enterprises,” said Sally Leonard, IEA’s Creative Team Leader. “We are particularly seen by our colleague organisations as the source for high-tech media support for creative companies and organisations.”

The project is underwritten by the European Social Fund and the London Development Agency. Companies wishing a copy of the CD should contact Sally at sleonard@ieaction.com.


Contact: James Kinloch. Email: james@hybridlab.org Tel: 020 7553 4471 Mobile: 07971 297 767. A preview copy of the CD will be available to the press on 8 August 2007. 

IEA is a UK charity with a trading subsidiary that, taken together, focuses not only on the UK but also on international activities. Our mission to achieve regeneration through strategic enterprise development. We have targeted specific strategic sectors which have economic growth potential and which also serve as catalysts for broadly based regeneration and the social inclusion of disadvantaged populations. These sectors are: creative enterprise (see our website www.hybridlab.org), sustainable eco-friendly development (including historic restorationand conservation) and local retail trading.

IEA Company registration No. 3169990 (England & Wales) Registered Charity No: 1053819

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 Topman, one of the UK's leading retailers of men's fashion, have just launched their Spring/Summer collection for 2007.

With over 900 men's clothing items online, Topman design clothing is currently in high demand. The new Topman Spring/Summer clothing range incorporates a variety of styles; from nu-wave influenced neon print t-shirts to slim, silhouetted formalwear.

Topman's main design range for the Spring/Summer 2007 season is the St Germain label, a range of men's clothing inspired by the beatnik poets of the 1950s and 1960s located on the Left Bank in Paris. With an overwhelmingly retro-chic feel, Topman's St Germain fashion line sees a sophisticated approach to men's fashion. Its distinct Parisian appeal combines slim fitted gingham shirts with skinny ties and striped cardigans. And with a range of men?s shirts and beatnik accessories available at Topman.com, including flat caps and canvas bags, it's easy for budding style gurus to get the refined urban look of mid-twentieth century Paris.

Musical influences also play a large part in Topman's Spring/Summer collections. Solstice sees a men's clothing line inspired by the serenity of 1960?s free music festivals: patterned shirts and bleached shorts create a more Bohemian feel with an air of psychedelia. White Riot, another of Topman's main clothing lines for Spring/Summer 2007, sees a strong impact from Goth Rock and punk, with punk graphics emblazoned upon t-shirts and hooded jackets being worn with fitted shirts and skinny ties.

Moreover, the Radical line of Topman's new clothes for Spring/Summer 2007 sees the brilliant results of the nu-wave movement on modern men's fashion. With bright acid and neon colours brandished on a range of skater and surf wear, the movement's bold colours and bright patterns certainly seem to have made a huge impact on the men's fashion market. With 1980s record sleeves and nylon vests a mainstay of this particular line of men's clothing, everyone is sure to find something to whet their style appetite this year.

Topman also offers a range of formalwear this season, designed largely with respect to the St Germain and White Riot trends. Simple cut trousers and one, two and three buttoned men?s jackets create a stylish modern aesthetic that is both comfortable and smart. This fresh look can be worn a number of ways and provides a way for British men to find suitable formalwear while still maintaining an effortless sense of style!

Topman's range of men's fashion for Spring/Summer 2007 is available on Topman.com, the fashion retailers' comprehensive website, where customers will be able to find Topman's entire range of clothing to buy online.

About Topman:
Topman offers the latest in men's fashion, encompassing a range of styles to suit every shopper. Topman's extensive collection embraces everything from the latest fashion trends to classic pieces, and extends to footwear, accessories and formal wear. Topman also provide the simplest way to search for and buy men's clothing, placing it among the leading fashion retailers in the UK market today.

For more information:

Topman contact details  PR Manager  Kelly Reed   Colegrave House  70 Berners Street  London  W1T 3NL   kelly.reed@topman.com  
0207 927 1721  http://www.topman.com/

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