Gastronomic tourism grew with the restaurant guides and the request for new eating experiences. A new cooking developed, with simple preparations, seasonal products and creative techniques. Gastronomy has been transformed by new ways of eating, new ideas on food and new fashions. Consumption is observed because of the close metaphor between eating and consuming and of the tight ties between food and identity formation. The Luxury concept changes and its changes are important, because gastronomy is considered to be the new Luxury industry. The object of this chapter is the new gastronomic fashions and how through innovation of luxury concepts and consumption practices, mentalities change and new identities are built by means of food. Differences and similarities between Hendrix and Destiny are noted, which include gender-specific attitudes toward the use of uniforms and military textiles as decorative devices, male status display and female empowerment. Elucidation of the motivation behind their respective versions of 'rock military style' is achieved through utilization of personal statements in interviews and contextual evidence linked to the histories and philosophies of Pop Art and aesthetics, current events and the cultural and social histories of particular groups. A general characterization of 'rock military style' is followed by analyses of the 1960s guitar hussar look of Jimi Hendrix and the 21st century camouflaged survivor look of Destiny's Child. In challenging a-priori psychological or semiotic approaches, a note is made of discrepancies between what military-styled stars wished to express by their look and what their audiences assumed was its purpose. There has been a tendency to overestimate the subversive and erotic appeal of the uniformed look subversion and fetishistic eroticism need not have been all that 'rock military style' involved. Rock and pop musicians attired in military uniforms belong to our collective visual memory of the popular music scene since the 1960s. Keywords: Hussein Chalayan, deconstructivism, radical fashion, re-semantification, object-clothes. Within this chapter, Hussein Chalayan will be analysed as the designer who pioneered the radical and critical channel in the global fashion system, marking a new era in fashion history in terms of the possibilities of incubating a critical role through design discourse. In all three paths the idea is the epicentre for Chalayan’s inter-disciplinary design process in which he draws no distinction among the world of clothes, objects, images and spatial environments. In order to construct meaning, Chalayan develops three different conceptual paths, addressing social problems, symbolic narration, and/or phenomenological events. Chalayan has put up resistance against the image-oriented approach of the fashion industry through his conceptual attitude by deconstructing the meaning of the clothes to re-semantify them and change their ontology. By the end of the 1980s Hussein Chalayan had taken over the critical position of Martin Margiela, the pioneer of deconstructivism in fashion, through his controversial discourse and designs against consumer culture. However, the movement of deconstructivism has marked a critical era in contemporary fashion. In the homogenized environment of the global fashion system creativity and differentiation have almost been reduced into forms and silhouettes and clothing has been transformed into a commodity.
0 kommentar(er)
