Fashion has always been looted art, ranging in each visual field, appropriating the language and making it useful to its own expression. Today there is a new approach where the dress is getting closer to art through a visual allusion and illusion made of references and different effects from the past.
Appearing and the appearance are contemporary elements essential to the survival of the fashion system. The need to communicate makes the frantic desire to continually propose something that you do see, that makes a product attractive and that transfers an added value to the simple item of clothing.
Dressing and the dress has often elaborated body modifications in the study of its aesthetic and formal developments in research.
In every time trends alternate highlight on different anatomical points giving different silhouette.
The use of decorative body already expressed in the art of mutation, which is typical of the 90s, now finds itself in the language of our aesthetic itinerary.
If, twenty years ago drawing the body with tattooes, piercing or burning symbolized the return to tribal means to identify our vision, the design of the current fashion is concerned to draw a ‘global aesthetic that hybrid dress with body and vice versa.
The dress is no longer sufficient to communicate, so fashion re-draws silhouettes and bodies through styling and product.
In a moment of extreme stylistic eclecticism, where anything goes, in a frenzy of cross-references, silhouette and proportions intertwined, we live a stress that leads to the idea of the dress, not as a simple enhancement or protection of the body, but the body itself as .
If a sort of multiplicity ‘of expression occurs at the beginning of each century, the difference with any other bygone era lies in the use and awareness that the simple sophistication of the decoration is no longer enough: so the dress becomes new expression to form a single whole’ one with the physical, not so much as an idea of a second skin but as a concept of camouflage between body and dress.
The idea of “prosthesis” as an addition to the body urges constantly a fashion research up to represent its only solution. Not only will you draw on the body following anatomy more freely, but also moving away tfrom it totally, with real ideas of installation and performance for volumes, colors and proportions.
Internet has generated all kinds of monster pushing fashion towards a no-stop performance, which refers to and modify any code of dress.
The only valid rule is to communicate through a concept of the dress / body and body / dress. If in the past, this was a need just for some conceptual designer , now everyone can try it. Maybe not all attempts are interesting and aesthetically meaningful, but the beauty of this situation is perhaps the performance itself (being elegance no more the subject of this millennium).
Fashion perpetuates its representative values still using schemes tied to the past. The innovation is to understand the dress with the body, their exchange and the need to wear something that will integrate and / or alters the play of movement, aesthetic pleasure and the creation of images.
