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The Invisible Designer

I have already alluded to the frustration, from a practitioner’s perspective, of reading texts which do not quite go to the heart of the reader’s interest, which miss important points through not looking at clothes or considering their commercial context. This section deals more specifically with the paucity of texts, not just by contemporary designers, but even about contemporary designers.Check the site Filmy god

By this I do not mean the many glossy eulogies which people use to give their sitting rooms a fashionable feel, I mean texts which objectively consider the research, design process, realization and distribution of clothes in relation to their meaning. I am not the first to draw attention to this. Davis notes:

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Those thousands of graduates of fashion design have passed into oblivion. As a final illustration of this, I refer to the chapter of Malcolm Barnard’s Fashion and Communication entitled ‘Fashion, Clothing and Meaning’, in which the author debates the possible agents for the generation of meaning in clothes: the designer, the wearer or spectator, and authorities.

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He argues, logically, that because designers’ views are so frequently sought in the popular media, it is clear that many believe the designers’ intentions are the sole source of meaning in their work, but that if it were so, it would not be possible for the meaning of clothes to vary according to time or place. A similar argument concludes that the wearer cannot be responsible for the meaning of a garment either since, if it were so, no different interpretations could not exist.

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Thence, the argument proceeds into semiology, the arbitrary nature of signs and issues of denotation and connotation, syntagons and paradigms, myths and ideologies, without ever having given an example, illustration or without ever having named, quoted or studied a single stitch, sketch or without considering that there might be different ‘realities’ under the general heading of fashion.

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