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The Year '85 A View. Above Thej 1985 was marked with record and tape sales coming-out of their four-year rut. Primary reason: innovativeness and diversity of music, especially dance, brought college students back to the record stores, dance clubs and concerts. KROQ in Pasadena. California and 91X in Baja, CA. two stations Wfco iitfifengec! on;, t-rokc nw.«y from the stifling top 40 format, heavily influ-need this turn to new music in the west. Locally, Ki-PX offered Virgin Vinyi on Sunday nights (notably Aunt Minerva’s dancc.sct), and gave Tucson hope for an I M ic movement, n ?ted rooppose •'anus? live album lyrics. I he music industry' countered PM.K.C. wi ith the Musical Ma- ;jority, c.xpressing thc t rne majority view. i6tc. Bob Gcldof of main force behind benefit to end world 5«n»zcd the pncr.crr.-3 conquer starvation in Ethiopia. On the local homefre nt, Farm-Aid cnlist- ed mcrican artists foi ■ a concert to “Keep America Growing .. . Rounding out the social issues was Little Steven Van Zandts all-star Sun City albur n, giving a lesson in the evils of apartheid. Tte Chosen 13 Singles c 1) How Soon Is Nov.' l Money For Noihlng Dne Strait. 3) Ilypnotizc Scritti Folitti 4) Shake The Discasc Depeche Mode 5) Feeling Gravity's PulI R»E.M, 6) Close To Me Thc Cure 7) Lover Come Back Dcad Or Alive 3; i W. :;-y ai; v:cr Ministry 10) 17 Days Prince
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“I Dress For The Image, Not For Myself.. . Not For Fashion.” M. Dietrich An Attitude, A Style, An Expression As in previous years, fashion had its say in the attitudes of American society. Naturally, the fashion conscious college student perpetuated trends, created their own styles, and, in general, proved they were incarnates of clothing horses from the 1920’s. College prided itself on having been the largest fashion show year-round. One international artist, Issey Miyake (pronounced Ee-say Mcy-yah-kay), heavily influenced fashion with oversize, baggy clothing. He experimented with sculpturing material and the body underneath This created an interaction of cloth and the space between the garment and the body. Space, employed as the central concept, allowed the garment and wearer to fuse together from their perspective shapes to an entirely new form. Yet, the wearer needed more than a body to shape; one needed ingenuity to challenge Miyake’s designs. His fresh approach with a strategy of simplicity facilitated the challenge. Furthering that concept was his using shades of basic colors with cuts to fit diverse ways of wearing his creations. Subsequently, Miyake built an institution, for his works have not and will not go out of style. They bore too little relation to the ficcti- |)0I,«| yoB syiubk express ness of a trend. An Issey people. You either hive It or )Otf don’t. was forever. Credited with a reversal to the Japanese-inspired movement toward oversize clothes. Paris-based designer Azzcdine AlaTa, propagated high fashion. His concept when approached cosmetically, created the illusion of a body type rather than interweaving with it. A body-conscious dressing attitude. This tended to accentuate perfect features (long legs, slender hips, non-existent waist) while overlooking large bone structures and builds that weren’t in prime shape. As to be expected, high fashion concerned itself with high fashion. Stepping out from that realm, Stephen Sprouse returned If recalled, he was “Boy Wonder” one year, fallen from the limelight the next. His spoiled rage promoted a neopsychedelic look-minis, day-glo dresses, spider tights. Notable Sprouse advocator, Deborah Harry, wore Sprouse’s minis on stage in her Blondic days. Now they are both back in the public eye, with Harry solo and Sprouse designing for her again Fashion also noted the return of previous American styles. Neo-J psychedelia predominated, with fashion having gone back tej the ’60’s. Combined with a Victorian revival and an interest in An Noveau, students intertwined the three styles, resulting in one ne look reminiscent of the past. Antique brooches were the Symbol fa this style which, overlapped on other styles. Now, however, brooches have traveled from being worn on the breast to wear on the neck Aviator medals were choice World War 11 memorabilia prizes anc the gothic scoured for them. When college students went home, the; had field days in grandmother’s attic or in relative’s forgotten chestj T'lerformancc clubi X well established u Tucson, gained more at tention with this ’60’ movement. To dress “Bo hemian” garnered the right look, so why not gt where the art crow: went? Black was the cola and what matched bc;tr with it than more black' For example, the standard male outfit was black jeans, a darker black turtleneck and coal-black penny loafers. Black Ray Bans (not manufacture: b Wayfarer) denoted tbe finishing touch, with per haps a black beret Fe males had an unlimile extent to which they couk construct an outfit. An thing and everything, a long as it was dated, was possibility. nd there existed th everything — all Ibe diRet cnee there i» between Elinor Glyn on fashion students of the coo servative New England genre. For them, neo-psychedelia added change of pace, not a way of life. Casually formal cocktail part was how these reserved students occupied weekends. Flora Kang unrestrained prints and wildly colored dresses were the epitome, no to the simple black dress, of cocktail party wear. For men, the nav blue blazer with Nassua-cut khakis set their standard. These sti dents were not concerned with revitalizing past styles, but the trad tional slightly updated. Theirs was a conventional lifestyle, f them, art existed to be analyzed over cocktails. All in all, fashion had a subtle year of fresh incorporatio Concentration was on the individual, not the ideal body. Ame can conciousncss raised itself by believing perfection came fro within a person, not exclusively from the surface. All while betf fashionable. ■ 26 S T.U D.E N T.L I.F.E
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