timeless fashion

Timeless fashion
What are the qualities that would help to define and clarify what is timeless fashion? ‘…fashion writers describe classical inspired styles as “timeless”, implying that such styles are outside fashion’s whimsical nature.’ (Welters and Lillethun 2007: xx)
‘People living in small towns and villages did not have the means to follow fashion, but evolved slow-changing regional dress styles called “folk” or “peasant” dress.’ (Welters and Lillethun 2007: xxi)

Is it to do with handmade personal qualities in garments? Wabi Sabi a Japanese aesthetic ‘…which looks to find perfection in imperfection.’ (Azoulay 2007: 378)
It refers to ‘…an ancient Japanese style aesthetic, which recognises an artisan approach to beauty that doesn’t require perfect, mechanical consistency.’ (Azoulay 2007: 379)
The jeans company Earnest Sewn uses this approach stating ‘We asked our factory to remove the guides on our sewing machines in an effort to recreate the beauty of hand sewn garments…the ides is that every pair of Earnest Sewn jeans is unique…’ (Azoulay 2007: 379). Simona Segra Reinach says ‘…designers today are moving toward personalization and fashion is offering unknown “small brands” as an antidote to the standardization and globalized omnipresence that retails policies have stamped on high fashion.’ (Reinach 2007: 385)

Can I find designers who work in this way? Ma Ke is a Chinese fashion designer who ‘… aims to foster in buyers a desire for objects with innate value until choosing the well-made and the beautiful becomes a natural selection.’ (Selvedge 2008: 20). Not following fashion trends in the fashion show of her collection ‘Quing Pin’ ‘her clothes were presented on men and women of all ages and shapes who moved in a graceful sequence of Tai chi-like movements…’ (Selvedge 2008: 7). Not following the fashion industry ‘the organically inspired work of Ma Ke is an exercise in the power of poetry and one person’s mission to defy the odds in the cut throat world of high fashion and garment production.’ (inhabitat.com)
‘Perhaps her greatest fear is that we will lose the ability to appreciate the unusual, the rare and the beautiful.’ (Selvedge 2008: 20)
‘Ma Ke’s third, and most esoteric; fashion line Wu Yong (useless) champions the survival value of beauty. Rejecting the unity of form and function it celebrates form alone. Wu Yong follows her accessible and successful labels, exception and mixmind which she founded nine years ago…She hopes others will inherit her appreciation of ‘essential simplicity’ through her designs.’ (Selvedge 2008: 20)
“…she rejects fast fashion trends and only works with artisans using hand looms.” (coolhunting.com Leonora Oppenheim 19.12.08)
“there are also the extraordinary photographs taken by Zhou Mi, where the sculptural clothes and the people wearing them appear as if they are integral structures in the landscape.” (coolhunting.com Leonora Oppenheim 19.12.08)
As old as the land? Timeless qualities?

is it to do with the way things are made? Carin Mansfield ‘… is positively a zealot about the way her clothes are made and the quality of the stitch work: French seams, bindings, piping, hem facings, gusseted sleeces and pin tucks are standard. The whole point of these clothes is that they are built to last so they are extremely well made. “I want the clothes to look as good on the inside as on the outside.”’ (Lewis 2008: 69)
‘”I like clothes that look better crumpled and so I wash everything to break it in and age it a bit”… “It softens the fabric and stops it looking stiff. It also enhances the texture.”’ (Lewis 2008:69)
clothes that evoke memories ‘Aside from this good old fashioned workmanship the shapes of the clothes have a reassuring familiarity.’ (Lewis 2008:70)
‘”My intention is to create clothes that age well, are long lasting and are not of a particular time frame.” (Lewis 2008:70)



Is it to do with an elegant and classical feel? Intricate details, beautiful draping, the use of colour? Sophia kokosalaki – what makes her work timelessly elegant yet contemporary? She designs for Vionnet and shares with her a classical and elegant approach, attention to detail, subtle use of draping.
Sophia says of Vionnet “the fact that her work has been a recurrent reference for of designers for almost a century now is a testimony to the timelessness of Vionnet.” (vogue.com 29.12.08 dolly Jones)
“Vionnet has one of the most exceptional fashion heritages and a timeless appeal.” (vogue.com 29.12.08 dolly Jones)
“Sophia with her technical abilities and contemporary feminine vision.” (vogue.com 29.12.08 dolly Jones)
“Sophia Kokosalaki was brought up on a rich diet of history and mythology, which continues to fuel her designs. She works through a back catalogue of ancient skills – using appliqué, pintucking, cording, plaiting, ruching and patchwork to embellish a range of fabrics.” (I-dmagazine.com 29.12.08)
Her 2004 collection was inspired by “the sea and all its contents” (style.com 29.12.08 Sarah Mower)
A distinctive personal style and identity – can I identify and describe what this is?
The draping is classical, like Greek statues, similar to Vionnet, not following trends, elegant, use of craft techniques, feminine, subtle colour tones, technical
“what really registers is recognisable continuity in a designers vision… she emphasised her signature draping, in corded pleats that ran over the bodies of jersey dresses.” (style.com 29.12.08 Sarah Mower)
Can I identify and describe theses qualities in specific garments?

What makes Vionnet timelessly elegant and not following fashion trends?
“Vionnet’s work is a cipher of modernism and classicism united to create a form of design that speaks of both purity and control”
“Hoyningen-Huene’s 1931 photographs of Vionnet’s favourite model Sonia dancing in white silk crepe romaine pyjamas, clearly relate the garments and the photography to the classical relief’s and imagery depicted on Greek ceramics” (Madeleine Vionnet 15 dresses from the collection of Martin Kumer, Fashion Theory 6 no 3 323-6 2006 Michael Clarke)
The way photography and styling works with a garment to convey its context and how we should read and understand it.
Attention to detail in her work “everything was thought through to the smallest detail. Everything was precise.” (bettykirke.com 04.01.09)
Vionnet’s distinctive style, elegant and classical use of bias “Vionnet’s halter necks, wrapped waists, and circular skirts are easily recognisable cuts. Vionnet also manipulated fabric. The twist often replaces a dart…” (bettykirke.com 04.01.09)
“an intensely private individual, Vionnet avoided public displays and mundane frivolities and often expressed a dislike for the world of fashion, stating: “insofar as one can talk of a Vionnet school, it comes mostly from my having been an enemy of fashion. There is something superficial and volatile about the seasonal and elusive whims of fashion which offends my sense of beauty.” Vionnet was not concerned with being the designer of the moment”, preferring to remain true to her own vision of female beauty.” (wikipedia.org 04.01.09)