My final outcome uncovers the travelling influences from the
underground cultures, not only across the world but through generations.
I have used three photographic collages to represent this movement of
fashion and culture. The first collage is a collection of images taken
by Jamel Shabazz, a street photographer based in 1980's Brooklyn, New
York. His photographs highlight the distinctive fashion that mixed
designer with sportswear of the youths in that era. The second collage
is another collections of film photographs, however this time they are
from the 1980s Lewisham, London. The majority of these images are of my
family members and close friends of my mother's yet despite
travelling 3465 miles, the influences in fashion have many similarities
to that of what Jamel Shabazz captured, highlighting the international
movement of the subcultures. The final collage is a group of images from
2013 Lewisham, London. Once again the similarities are rife, not only
from the London collage but going all the way back to Brooklyn. This
highlights the generational travel of this tiny fashion and culture.
One
iconic brand that flowed through all three collages and had one of the
strongest influences within the movement is Adidas. For this reason I
decided the most relevant way to display the collages was to print them
onto Adidas branded t-shirts. This helps the viewer to make the
connection to fashion and look deeper into the collages to notice the
brands and statement pieces that had travelled through time and age.
From the sheepskin coat, buckets hats and shell toe trainers to the gold
chains, oversized glasses and high waisted jeans.
To
show the relevance of the collages to the youth cultures of today to a
further extent, I created three very intricate stencils of my own
personal street photography which dives into the raw fashion and
influences of the urban subcultures of today. By hanging these stencils
in front of the t-shirts it gives the viewer the chance to physically
look into the subjects of the stencil and see their influences and
inspirations shining through in bold colours.
I tried
to keep the materials I used as relevant as possible to the subculture I
was looking at. By using Adidas T-shirts the iconic branding and focus
on fashion is kept alive. The transfers add a retro look to the T-shirts
as they loose a bit of colour when heated and gain a yellow hue which I
feel is very effective and relevant. I focused highly on the
stencilling technique as stencils are something that is used a lot in
graffiti and street art, which is a big part of the Hip Hop culture. On
top of that, by having control over what I cut out in the stencil gives
me the power to outline the iconic brands within the image and help the
viewer to focus on the statement garments within the image.
What
I found the most challenging was trying to get a high quality finish on
the T-shirts. As my plan to get them professionally printed fell
through I had to compromise and try and do my best with the facilities I
had at home. Because of this the transfers had to be cut in half and
printed in two pieces resulting in a slight line in the middle of each
collage. On top of that, I had to use an iron to heat the transfer paper
meaning it was hard to disperse even heat at the right temperature
resulting in cracking and some blurring. The most physically challenging
aspect of the piece was the stencilling. As I chose to use quite thick
paper/card I had to add a bit more pressure when cutting with the
scalpel, this tired my wrist out a lot quicker than usual and blunted
the scalpels a lot quicker. If I were to improve the finish of my piece I
would use dye sublimation technique to transfer the collages onto the
t-shirts instead as it is more professional and permanent, it also
leaves less room for mistakes, cracking and blurring.
What
I enjoyed most about this project was working with real people and
finding out about real influences that have travelled, not only through
time but also through the generations within my own family. Not only did
I discover a lot about other people and their background, but I learnt a
lot about myself and discovered a lot of similarities between me and my
parents' influences from when they were my age. This has definitely
inspired me to work with real people and create beauty by exposing
natural patterns within every day life in my future projects.
Monday 13 May 2013
TSHIRTS
When printing the t-shirts there were a couple of dilemmas, firstly as I wanted to print the image in A3 I had to find a print shop that had an a3 Inkjet printer to print the collage onto the heat transfer paper. I managed to find a print shop, called them and made sure they'd be open for when I could make it. Unfortunately, when I reached the shop they had shut 2 hours early with no reason or warning. I then had to think of plan B. I realised I was going to have to cut the collages and paper into a4 sheets and print each image in two halves. This means that the print isn't as seamless as I first hoped. On top of that as I had to now print them at home I only had an iron to use instead of a heat press meaning it was hard to gage when the heat transfer was ready to peel off creating a few cracks in the image.
TSHIRT INSPIRATION
One of my biggest inspirations for the design of the t-shirts is a art movement/collection called T-shirt Party founded by Cieron Magat. The simple boxy, bold and colourful yet almost tacky designs on the t-shirts are really effective and create a authentic and almost retro feel to the t-shirt.
PRINTING
I first tried printing my collages onto A3 card to hang behind the stencils, however, I felt that using the same material for both layers was a bit boring and didn't represent the fashion element to the project that I was looking at. Therefor instead, I decided it would be more appropriate to print the collages onto Adidas t-shirts using heat transfer paper.
When in Lewisham, I found these t-shirts which I felt were perfect, they donned the famous three stripe and clearly state that they are Adidas. I also feel that the design is very 80s and has an almost retro look to it. There is also more than enough space underneath the logo to print an a3 sized collage.
CUTTING INTO FABRIC
After doing a couple of trials of cutting into different types of fabric using a scalpel, I realised I wasn't getting the quality and detailed result I was after. The stretch and fibres of the fabric made it hard for me to cut a straight line at particular angles also leaving it hard for me to stop the fabric from fraying. Instead I decided that keeping it simple and cutting the stencils into a3 white card would allow the viewer to focus on the intricate detail, therefore resulting in the inspiration collages standing out and bringing colour through the stencil.
COLLAGE INSPIRATION
When walking around Lewisham, passing the windows of black hair salons, you will always see a hairstyle collage, whether its shape ups for men or cornrow styles for women, they are always bright and vibrant with catchy slogans to attract your attention. These inspiration collages gave me the inspiration to collate Jamel Shabazz's photography, as he is one of my biggest influences for this project so far and create a collage in a similar style.
Once I created this collage I knew that it was the perfect layer to have behind my stencils, not only is it bright, colourful and bold so it would catch the viewers eye through the stencils, but it brought the influences of the people in the stencils together, almost as if you are looking inside the person to reveal their inner inspirations and influences
Tuesday 23 April 2013
HOW TO STOP CUT FABRIC FROM FRAYING
When woven fabric has been cut or torn and not sewn or hemmed it can begin fraying. This can be a huge problem, especially when a sewing machine is not available. Hand-stitching can stop material from unraveling, but this takes a lot of time and effort. No-sew alternatives are sometimes required because not everyone has the knowledge or the materials to keep it from unraveling. Use these no-sew ways to stop fabric from fraying, and complete any project quickly and easily.
Use Clear Nail Polish to Seal the Edges
To stop fabric from fraying, use clear nail polish to seal the edges. Simply apply the clear polish along the raw edge, and allow it to dry completely before handling the material. This no-sew method of repair will make the edge noticeably stiff if it is applied too heavily, but it will not unravel. In time it might need to be reapplied, but it will last far longer than hairspray or some other no-sew water-soluble option.
Stop Material from Fraying with Fabric Adhesive
Fabric adhesive can be used to create a no-sew bond that will stop fabric from fraying. It is designed to join two pieces of fabric, but it will also seal woven edges. Apply a small amount along the cut edges, and allow it to dry completely before handling. It will dry clear, and it should remain through several washings. Follow product label instructions for warnings and usage directions.
Use a Fray Stopping Product Found in Craft Stores
When looking for no-sew ways to stop fabric from fraying, look for Fray Check. This product is sold in craft stores and sewing supply stores, and it works like a charm. Apply it according to label directions for best results. It is ideal for no-sew projects, and it will work to stop woven fabric from fraying along raw edges.
Stop Fabric from Fraying with Peel and Stick Fuse Tape
Do you want to create a no-sew hem that looks neat and professionally complete? Use no-sew peel and stick fuse tape. Iron the hem and apply the tape according to instructions. It will hold firmly since it literally fuses the fabric and it is by far the very best way to stop raw edges from fraying.
Use Clear Nail Polish to Seal the Edges
To stop fabric from fraying, use clear nail polish to seal the edges. Simply apply the clear polish along the raw edge, and allow it to dry completely before handling the material. This no-sew method of repair will make the edge noticeably stiff if it is applied too heavily, but it will not unravel. In time it might need to be reapplied, but it will last far longer than hairspray or some other no-sew water-soluble option.
Stop Material from Fraying with Fabric Adhesive
Fabric adhesive can be used to create a no-sew bond that will stop fabric from fraying. It is designed to join two pieces of fabric, but it will also seal woven edges. Apply a small amount along the cut edges, and allow it to dry completely before handling. It will dry clear, and it should remain through several washings. Follow product label instructions for warnings and usage directions.
Use a Fray Stopping Product Found in Craft Stores
When looking for no-sew ways to stop fabric from fraying, look for Fray Check. This product is sold in craft stores and sewing supply stores, and it works like a charm. Apply it according to label directions for best results. It is ideal for no-sew projects, and it will work to stop woven fabric from fraying along raw edges.
Stop Fabric from Fraying with Peel and Stick Fuse Tape
Do you want to create a no-sew hem that looks neat and professionally complete? Use no-sew peel and stick fuse tape. Iron the hem and apply the tape according to instructions. It will hold firmly since it literally fuses the fabric and it is by far the very best way to stop raw edges from fraying.
STENCILLING INTO ADIDAS ORIGINALS
http://www.ebay.co.uk/itm/ADIDAS-VINTAGE-RED-MENS-RETRO-HOODIE-TRACKSUIT-JACKET-TOP-SIZE-S-VGC-/140957187420?pt=UK_Men_s_Hoodies_Sweats&hash=item20d1b3fd5c
sE9swm,1voBRb7df!DWQ~~60_58.JPG)
THE INFLUENCE AND GROWTH OF THE HIP HOP CULTURE
shows the influence of the 1980s around the world in communities which are unlikely to be documented. influence of music, clothing and culture
1980 FASHION AND CULTURE
SHELL TOES/ SUPERSTARS
The Superstar is a basketball shoe manufactured by athletic goods company Adidas since 1969, and it was released as a low top version of the Pro Model basketball shoe.[1] Nicknamed the "shelltoe", "shell shoes", and "shell tops" for their rubber shell toe piece, their iconic design is known as one of the major influences in the sneaker culture. In 1983, from Hollis Queens, NY, came Run-D.M.C., a rap group that refused to conform to pop standards by deciding that they would dress on stage the way they dressed on the streets. The trio was most notable for wearing the Superstars without any laces and pushing the tongue of the shoe out, imitating the fashion inside a prison.
The Superstar received a lot of promotion from the rap group as they went out on tours across the US, increasing adidas' sales on the Superstar shoe. Responding to an anti-sneaker rap song by Jerrald Deas called "Felon Sneakers", the trio released a song of their own called "My Adidas" in 1986.[3] The song paid tribute to the Superstar shoe, and attempted to flip the stereotype of the 'b-boy'. Many years later, Adidas eventually signed an advertising deal with the group for 1 million dollars after realising how much promotion their product received from the trio. The deal made between Run-D.M.C. and Adidas was the first endorsement deal between hip-hop artists and a major corporation, and a Run-D.M.C. endorsed line of clothing from Adidas was subsequently released.[3] The Superstar shoe has become part of popular youth fashion culture and are now worn regularly as casual footwear, rather than for sports.
The Superstars, like the Converse Chuck Taylor All-Stars, easily made the transition from the basketball court to street as it was sported by hip-hop aficionados. In the late 1980s, 'b-boys' wore the shoes with extra thick laces called "fat laces", usually matching the color of the laces with the color of the three stripes on their shoe.
The Superstar is a basketball shoe manufactured by athletic goods company Adidas since 1969, and it was released as a low top version of the Pro Model basketball shoe.[1] Nicknamed the "shelltoe", "shell shoes", and "shell tops" for their rubber shell toe piece, their iconic design is known as one of the major influences in the sneaker culture. In 1983, from Hollis Queens, NY, came Run-D.M.C., a rap group that refused to conform to pop standards by deciding that they would dress on stage the way they dressed on the streets. The trio was most notable for wearing the Superstars without any laces and pushing the tongue of the shoe out, imitating the fashion inside a prison.
The Superstar received a lot of promotion from the rap group as they went out on tours across the US, increasing adidas' sales on the Superstar shoe. Responding to an anti-sneaker rap song by Jerrald Deas called "Felon Sneakers", the trio released a song of their own called "My Adidas" in 1986.[3] The song paid tribute to the Superstar shoe, and attempted to flip the stereotype of the 'b-boy'. Many years later, Adidas eventually signed an advertising deal with the group for 1 million dollars after realising how much promotion their product received from the trio. The deal made between Run-D.M.C. and Adidas was the first endorsement deal between hip-hop artists and a major corporation, and a Run-D.M.C. endorsed line of clothing from Adidas was subsequently released.[3] The Superstar shoe has become part of popular youth fashion culture and are now worn regularly as casual footwear, rather than for sports.
The Superstars, like the Converse Chuck Taylor All-Stars, easily made the transition from the basketball court to street as it was sported by hip-hop aficionados. In the late 1980s, 'b-boys' wore the shoes with extra thick laces called "fat laces", usually matching the color of the laces with the color of the three stripes on their shoe.
BRITISH STYLE GENIUS
http://www.bbc.co.uk/britishstylegenius/content/22248.shtml
Soulboys
"Soulboys formed a working class English youth culture of the late 1970s and early 1980s. Fans of US soul and funk music, the culture emerged in the south of England when people started gravitating towards more modern Soul artists such as Roy Ayers rather than the obsessive interest in obscure 1960s records that characterised the Northern Soul scene. The culture emerged around certain clubs in the south east of England such as The Royalty in Southgate. The Caister Soul Weekenders became the main event in the Soulboy scene and still exist today. Norman Jay remains an enduring icon on the soul scene, bringing his own take on the fashion and music of the day to sold-out clubs across the world.
Much of the casual scene that emerged in the 1980s was borrowed from Soulboys, not least the sideways fringed wedge haircut. Although the Soulboy scene was huge by the early 1980s it received little media coverage, and was overshadowed by the more dramatic exhibitionism of the decade's New Romantics.
Norman Jay is a pioneering MBE awarded DJ is a legend on the funk and soul scene and has always dressed every part the Soulboy. He first came to prominence in the 1980s playing at unlicensed warehouse parties and has a diverse and deep rooted knowledge of the Casual scene."
JAMES VAN DER ZEE
James Van Der Zee was an African American photographer best known for his portraits of black New Yorkers. He was a leading figure in the Harlem Renaissance. Aside from the artistic merits of his work, Van Der Zee produced the most comprehensive documentation of the period. Among his most famous subjects during this time were Marcus Garvey, Bill "Bojangles" Robinson and Countee Cullen.
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