12 he’s representing to the fullest as Luis on the ABC Studios/Hulu show “This Fool. He sold a show to TBS with his friends (Donny Divanian and Cory Loykasek) called “The Dress Up Gang,” his comedy special “Superhomies” landed on HBO, he scored a part on “What We Do in the Shadows” (FX), and on Aug. The road wasn’t easy, but the accomplishments of this now-16-year comedy vet have raised his stock higher than a cholo’s socks. Always the class clown, Quiñones grew up in a home alive with comedy and funk music, which he also borrowed from his parents. This article analyses the strategic use of runway scenography as a key part of contemporary branded communications, exploring specifically how the creative synergies between fashion and architecture are being reshaped by the impact of digital social media, in particular by Instagram.(Samanta Helou Hernandez / For The Times)įrankie Quiñones started his sketch comedy career in his family living room at age 6, holding a sprinkler head he found in his dad’s work truck as a microphone while dressed in his mom’s clothes.
Architectural paradigms now feed into the symbolic discourse of branded fashion and influence the way in which collections are spectacularized for different audiences. Today’s runway show does not simply present a collection of clothes against a background set design it uses scenography more instrumentally as the setting for brands and digital influencers to capture images of fashion for followers of online social media. Often used to symbolize the power of the brand or to reaffirm its DNA, the strategic choices of setting, space, and set design are an integral part of the promotion of designer fashion. While I am not trying to advocate for Vetements, I believe their example highlights cardinal shift in the way fashion is seen and perceived, placing the brand in the important position in the fashion discourse, one signaling change and offering a new framework for fashion production.įrom minimalist installation to monumental set design, runway scenography is now central to the grammar of fashion communications. Yet, it is not only the subversion of the familiar that is central to Vetements’ practice but the credibility their work projects, the highly sought after notion of authenticity they succeed to deliver which is almost contradictory to the notion of fashion itself. Looking at the notions of rearticulation and recontextualization as essential, core elements of the brand’s practice, I will show how the diversity of the multi-cultural backgrounds of the designers, knowledge of fashion history, and profound understanding of the everyday aspect of fashion become instrumental in construction of the new meaning. Analyzing their unorthodox for high- fashion approach to sartorial signification, meaning-making, and value, I will demonstrate the paradigmatic shifts that happened in perception of high-fashion as well as in the discursive practices surrounding the field. In my presentation I will look into Vetements, the young, multi-national design collective founded in Paris by Georgia- born Antwerp-educated designer Demna Gvasalia in 2014. Yet, fashion is complex, multifaceted phenomenon, and it continues to evolve and develop new ways to express and communicate though appearances. In the recent years it has been often said and written that fashion crashed, is in crisis, and dead.
0 kommentar(er)
