Your Art & Relevant Ideology - Essay Example

However, this paper is an examination of my outwear design collection for 2009 Fall/Winter Season. Nietzsche’s hierarchy of nobles, priests, and herd members is applied within the overall design. That is to say, I was driven by the idea justified in the philosophy of nobles, priests, and herd members so as to expand on each stage of the design process. By the way, it is vital to keep track to the fashion philosophy, as a standpoint for nurturing designer’s inspiration. In this respect “a central ambition is to establish a more reflective relationship to fashion and as such to change our attitude towards it” (Svendsen 11).

Hence, Nietzsche ideology on the hierarchical relationship between nobles, priests, and herd members provides me with a set of the core ideas. A straight-forward objection by the philosopher is that “creators were they who created peoples, and hung a faith and a love over them: thus they served life” (Nietzsche 49). Henceforth, the talk on the tripartite unity of nobles, priests, and herd members is incorporated in my collection. First of all, when drawing upon my inspiration I was driven by the idea of perfectionism and a man’s capability of surpassing all expectations.

Thus, changing different parts of clothes in an asymmetrical way by putting them in quite irrational position was the first step to state what identifies the nobles. I tried to cut clothes’ parts randomly so as to achieve a combination of new silhouettes and images in mind as well as on the sketch. Moreover, starting with the top of the image, I followed up to bottom parts by dint of arranging different parts of clothes. I re-discovered that there is no true or right as well as false or wrong way in designing clothes, as it is a process of inspiration coming from the imagination.

It is an innovation aimed at the nobles, but serving a model for herds. Nietzsche’s philosophy would state on this point in the following way: “The superman is he who achieves in himself what nations once achieved when they raised themselves from the level of herds” (Hollingdale 162). Thus, I followed the way of contradiction with the mainstream tendencies in the attempt to highlight the nobles in their supremacy. Second, the idea of the priests by Nietzsche is also incorporated in the fashion collection I created.

However, I was well stopped by the comments of my professor. There was no positive feedback from him, as he thought it would take much time for the whole process and that it goes apart with his (professor’s) teaching style. Thus, I pushed on undaunted by what the professor considered to be the right way. The question is that there is a link between fashion and identity (Svendsen 19). This is why priests are likely to lay emphasis on what makes people gorgeous and successful as the nobles are.

Third, the herd members are especially emphasized in my collection. It is attractive for a many-colored design of clothes with disproportional shapes. In this vein, I tried to focus more on my vision of design, not that of professor’s. However, he suggested taking advantage of both ways in the process. So, the combination of two types of vision was an asset. Moreover, at that time fitted coat did not cohere with tight silhouette. The scheme of the hierarchy seems quite complete, since it comes from the elites and ends with the marginal tastes.

This gradient flow is well determined in the collection with the implications of vogue design as a result of my, as a designer, vision of fashion and Nietzsche’s philosophy embodied in it. Hence, natural lines and roomy style ostensible in the fitted coats of mine underline a retreat from the mainstream tendency at the time. To say more, it exemplifies the rule of imagination which