Paradigm of Postmodernism - Term Paper Example

 Introduction Postmodernism became evident in textile and fashion designs from 1960s. It was a period that saw a change from traditional modes of dressing to a new phase characterized by the use of various print designs. In textile fashion and designs, there have been upheavals in the field of graphic communication. There has been a mind shift from the designers and the users’ altogether. One of the greatest textile artists that saw it all is Ettore Sottsass, like furniture and later textile designer, his work saw a great change in textile print designs. Collins (1987) states that unlike the earlier designs, this new era saw drawings and paintings on textile used to relate to a variety of person response to changing times. This paper will examine Ettore Sottsass work in textile designs as a new dawn in textile print. Perceiving design via the lens of an individual in love grants an extreme specific standpoint on both the prevailing designer and the corresponding user. The most important development from this meeting was the formation of a collaborative approach in post-modernism. The process of using artistic print in t-shirts and other fabric designs to show a wide range of emotion and humanity wellbeing. The colorful formation of the group has been identified as the most classical case of post-modern ism in textile designs because it entails a number of features that often misses in the ancient textile products (English, 2013, pp.145-189). As noted, it entails a platform where drawings have been evolved to reflect human character and emotion. Thus, Ettore Sottsass ‘s self-designation of the designer advances is a vital propeller of the design and is envisioned to redefine Italy as a new mechanized democratic country separate from the underlying fascist past. Disenchanted with the existing industrial design and the underlying constraints of the market since Sottsass fashioned designs fundamental if the materialistic culture of the postwar Europe. The intertextuality concept in relation to textile fashion design has been used remarkably. In itself, the term explains how the fashion design has been changing. The term reflects the meaning of various drawings and paintings to the users with allusion and social influence in the industry. Evidently, the group worked with a clear agenda in place. Transformation of the industry through incorporation of new ideas and shifting textile products towards transformed culture and new face of production (Adamson, Pavitt & Antonelli, 2011,pp.134-189). Ettore Sottsass design a propositive that were criticism and alternative to the separate association amidst populace and the underlying object at the period. Memphis was the chief point of the Sottsass’s reflection abount the material culture, which transformed the universe thereafter. Sottsass found fundamental remedy to the monotonous, mass produced, disengaged design through perplexing agreements, discerning non-Western cultures, and correspondingly reconsidering history and the previous events. Underlying argument that the concept developed from Ferdinand Saussure's work that helped to identify how signs can be used in textile to depict a cultural sense and generational meaning (English, 2013, pp.145-189). The concept replaces the notion of textile intersubjectivity, this means that the meaning do not directly transfer to the user. It serves to bring out artistic interpretation of the work displayed in drawings and painting of the clothes and various textile products. Moreover, in the textile texts and painting, the meaning of the written material does not reflect on the written material. The new concept has eroded the critical components of traditional epic and or conversation. The textile printer focuses on fascinating issues surrounding celebrities, political figures, sportsmen and many other popular persons. In recent times, the designer prints have been used to carry sarcastic and ironic messages. While the entire use of graphics in the textile industry remains largely for beauty and elegance, the core issues rest on the ability of the artists to match the post-modern concepts with fashion trends. Ettore Sottsass is the principal consultant designer for th Italian office equipment company Olivetti. Moreover, the observation of the underlying users was the chief source of ideas for the design, and the corresponding goal was mainly to conceive a more pleasant work experience. According to Collins ( 1987), the design modernisms of the Elea 9003 were the main motivated by Sottsass’s underlying concern with the physical, cultural and psychological ease of computer operators. Ettore Sottsass advanced the existing office environmentally by lowering the underlying height of the computer cabinets to enable the operators to communicate with one another. He also employed color to distinguish amidst the diverse sections and to alleviate the visual monotony of the office space (Sherburne, 2011,pp.156-199). The current textile designs reflect the use of pastiche; this is visual art literature that reflects the works of more than one artists. Unlike the overuse of parody in the textile industry, the textile print that uses pastiche celebrates rather than ridicule the works it is borrowed from. It has been used widely in political and celebrity clothes designs to praise the artistic and design works. Over many years, pastiche would be seen only in literature texts analysis, today the textile industry is an important platform of making literary drawing and linking art to textile. Notably, the 2012 spring/summer fashion collection offered a unique opportunity to build a reflection of how conservative fashion designs have been transformed to modern elegance and literature piece(Gabriel, 2008,pp.134-212). The printed fashion garments as displayed in the Patternbank's seasonal review showed glamorous fabrics printing that capture a wider scope of activities as compared to the recent times. Additionally, building fragmentation in drawing and print designs has been greatly transformed in two major ways. Utilizing colorful switching; Mondrian-inspired grids and bold brush that helped transform the print textile into the modern day designs. With changes that have been witnessed in the recent times, it is certain that textile print industry has achieved big strides towards modern liberation of art and culture (Jameson 1998). Ettore Sottsass’s basic contribution to the Italy the New Domestic Landscape exhibition at the MOMA in the year 1972 mainly criticized materialistic lifestyle characteristics of the postwar society (Sherburne, 2011,pp. 213-256). Ettore Sottsass designed a series of plastic boxes that were equipped will the machinery essential to enhance effective lifestyle. Sottsass wanted to abandon any underlying cultural reference furniture in order to separate and uninvolved the object that would be no significance to him. Moreover, it was an exaggeration of the present association amidst populace and their corresponding material culture. Ettore Sottsass plastic boxes were the main commentary on the mean popular live. He mainly wanted to emphasize that the conspicuous gathering of the objects inside populace; s house, which had no contribution to life. According to Ettore Sottsass, populace felt the requirement to perpetually demonstrate status via their underlying possessions, and their corresponding houses (English, 2013, pp.145-189). The colorful formation of the group has been identified as the most classical case of post-modern ism in textile designs because it entails a number of features that often misses in the ancient textile products. As noted, it entails a platform where drawings have been evolved to reflect human character and emotion. Textile drawings and designs, the text drawn in these products reflect interrelated meaning. Designs and drawings on textile have been used to carry a particular meaning. Mainly, the artistic works used include geographical, architectural, celebrity and cultural representation of passing times. In using this concept of intertextuality, Sottsass textile work qualifies as a new frontier in apparel fashion design in the modern textile fashion (Worbin, 2010,pp112-156). The fashion design has been changing. Reflection on the meaning of various drawings and paintings to the users with allusion and social influence in the industry (Sherburne, 2011,pp178-189). Evidently, the group worked with a clear agenda in place. Transformation of the industry through incorporation of new ideas and shifting textile products towards transformed culture and new face of production. The concept replaces the notion of textile intersubjectivity, this means that the meaning do not directly transfer to the use. It serves to bring out artistic interpretation of the work displayed in drawings and painting of the clothes and various textile products. Moreover, in the textile texts and painting, the meaning of the written material does not reflect on the written material. The new concept has eroded the critical components of traditional epic and or conversation (Adamson, Pavitt & Antonelli, 2011,pp.134-189). The textile printer focuses on fascinating issues surrounding celebrities, political figures, sportsmen and many other popular persons. In recent times, the designer prints have been used to carry sarcastic and ironic messages. While the entire use of graphics in the textile industry remains largely for beauty and elegance, the core issues rest on the ability of the artists to match the post-modern concepts with fashion trends. According to Worbin (2010) Ettore Sottsass offered a live link to the modern apparel fashion in two ways. Firstly, the modernization of artistic platform that laid down fundamental structures to oversee fashion shift and incorporation of artistic values and concept in a systematic manner. Secondly, the current textile designs reflect the use of pastiche; this is visual art literature that reflects the works of more than one artist. Unlike the overuse of parody in the textile industry, the textile print that uses pastiche celebrates rather than ridicule the works it is borrowed from. The printed fashion garments as displayed in the Pattern bank's seasonal review showed glamorous fabrics printing that capture a wider scope of activities as compared to the recent times. Additionally, building fragmentation in drawing and print designs has been greatly transformed in two major ways (Sherburne, 2011,pp123-145). Firstly, there has been the using of colorful switching; Mondrian-inspired grids and bold brush that helped transform the print textile into the modern day designs. With changes that have been witnessed in the recent times, it is certain that textile print industry has achieved big strides towards modern liberation of art and culture. Print Designs and Fashion Branding With increased interest and creativity in textile print, there has been a great success in establishing product brand based on the clothing designs and accessories. Branding in textile appeared to come into the light after post-modernization because this period saw the clothing lines and apparel fashion embarked on a serious brand identity search through incorporation of printed words, pictures, and collections (Worbin, 2010,pp.189-212). In modern textile print, there is a combination of various concepts in the print in order to bring out important features. Literary allusion indicates a closely related text linking in textile print, in essence, allusion is a wider concept that uses informal short statement that carries huge meaning. Examples of Ettore Sottsass artwork There are several examples of Ettore Sottsass artwork; they include textile artwork from Spugnato, Flotex, and Autumn/Winter Darkroom cushion collection. The collection of Darkroom’s Autumn/Winter is composed of collaborative designs in addition to men and women commissions. The designers for Autumn/Winter darkroom are Jamie Julien-Brown, Stone theatre, Studio Pepe, Zuzunaga and Spotti Edizioni. The Darkroom has a glory of multi-colors that can capture any eye for a visual feast. Flotex with Bactria is among the Ettore Sottsass’s signature design that is usually opened to larger interpretation consisting of the shift and sway close up amoebic forms. In addition, it is similar with the constellation of distant stars. Postmodernism first began in the 1970s when John Watkins suggested “a Postmodern Style of Painting” . Postmodernism departed from modernism through being its criticism in addition of extending its religion and theology the feelings and tradition of Catholics. Postmodernism is a critical tool used in describing modern forms of music and art. Arnold J. Toynbee first used it in the year 1939. Later in the year 1949, Postmodernism was used in describing dissatisfaction that was brought by modern architecture, which later resulted to postmodern architecture movement. Memphis group was formed in the year 1981 through the combination of Sottsass and an international group composing of young architects and designers. The group got its name after “Stuck Inside of Mobile with e Memphis Blues Again”. It was launched with several collections including 40 pieces of lighting, furniture, ceramics, textiles and glass that featured in it surfaces that are flicked, fluorescent colors as well as laminated patterns. Moreover, the group consists of various examples of postmodernism arts and design. Textile print has always been a number tool of promoting designs and product brand. Always the print has been singled out as an important developmental milestone in the textile industry in three key areas (Worbin, 2010,pp.178-234). The nature and content of the print has been importantly changed include artistic show and creativity. While the ancient textiles remain plain in content, print textile is now the new tool of preaching important issues of social justice, conventional political ideologies and enhancing several campaign agenda. The apparel fashion in modern times has largely utilized print textile as a new wave of enhancing creative and innovative marketing segmentation. Systematic development in print media, the fashion industry has benefited immensely due to enhancing product portfolio and innovation in the industry. Comparison of earlier designs and textile prints, the post-modern print has seen an important milestone of artist’s collaboration and celebrated identities in the modern fashion and designs. In fabric and textile designers concept of Ettore Sottsass refers to the use of artistic writings and drawings that provide historical events (Adamson, Pavitt & Antonelli, 2011,pp.134-189). Drawings and prints carry events and specific features that bring in the concept of metanarrative. Enlightenment identifies important feature that the ancient art was anchored on; the birth of Ettore Sottsass textile designs saw artificial intelligence, machine translation and shift from linguistic-based art to symbolism and creative technological progress (Adamson, Pavitt & Antonelli, 2011,pp.134-189). This development in the textile industry has seen a shift to plurality and intertextuality.Some patterns in print and drawings representative schizophrenia, a state of mind confusion and disorganization. Incorporation of this issues helps to build a post-modern concept of textile print in fashion. Conclusion Due to a career in design, Ettore Sottsass became the renowned paradigm of Postmodernism. Presently, thirty years later, there exist no nostalgia for the prevailing past within the Postmodernism. Society is dynamic and is in steady alteration. Things are new every time, and the things that are constant is alteration. Mobility and duration are is fundamental values within the Postmodern durations, and for a reason, any possessions that normally weighs populaces down is considered negative ti their prevailing negative. Designers require reconsiderations of association amidst populace and objects. Moreover, the sense of separation and indifference towards the underlying material universe is not foreseeable. Design reverberates with individualexperiences in the process of transformation of the underlying ideal space for association and corresponding experiences. Ettore Sottsass mainly embraces consumerism and comprehension of the underlying brand. Moreover, design products are basic in reflections of modernism. Nevertheless, in case the past is comprehended as Sottsass career, then other artists are postmodern to Ettore Sottsass implying that Postmodernism will never come to an end. The work of Ettore Sottsass textile designer has led to the transformation of textile print in numerous ways. References Adamson, g., Pavitt, j., & Antonelli, p. 2011. Postmodernism: style and subversion, 1970- 1990.    London, v & a pub. Allen, G. 2000. Intertextuality. London, Routledge. http://site.ebrary.com/id/10165468. Anand, s., 2008. Designer Natural Fibre Geotextiles - A New Concept. Indian Journal Of Fiber And Textile Research, 33, pp.339–344. Black, s., 2004. The textile book. Textile: the journal of cloth and culture, 2, pp.96–98. Berger, A. A. 1998. The postmodern presence: readings on postmodernism in American culture and society. Walnut Creek, CA, AltaMira Press. Collins, m. 1987. Towards post-modernism: design since 1851. London, British museum publications. English, B. 2013. A cultural history of fashion in the 20th and 21st centuries from catwalk to sidewalk. London, Bloomsbury Academic. Evans, C., & Thornton, M. 1989. Women & fashion: a new look. London, Quartet. Gabriel, r.p., 2008. Designed as designer. acm sigplan notices, 43, p.617. Jameson, f., 1998. The Cultural Turn Selected Writings On The Postmodern, Lomov, s. v. et al., 2001. Textile Composites: Modelling Strategies. Composites - Part A: Applied Science And Manufacturing, 32, pp.1379–1394. Sherburne, a., 2011. Sustainable Textile Design. In Textile Design: Principles, Advances And Applications. pp. 207–231. Studd, r., 2002. The Textile Design Process. The Design Journal, 5, pp.35–49. Woods, t. 1999. Beginning postmodernism. Manchester [u.a.], Manchester univ. press. Worbin, l., 2010. designing dynamic textile pattern Read More