University of Arizona - Desert Yearbook (Tucson, AZ)

 - Class of 1986

Page 30 of 448

 

University of Arizona - Desert Yearbook (Tucson, AZ) online collection, 1986 Edition, Page 30 of 448
Page 30 of 448



University of Arizona - Desert Yearbook (Tucson, AZ) online collection, 1986 Edition, Page 29
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Page 30 text:

“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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Page 31 text:

z c o z lx ts of sand but no warn fittingly described Arizona. True, California may ha»e had the coast, but this southwestern state boasted 300 days a year without rain. Sunshine dictated clothing standards marking 1985-86 as the year of the Kiwis, one of many styles of knee-knocker shorts. l ashion was more than a mode ol «f dressing; it was an expression cf an attitude, an artistic 3statement. And, as with any art, c came the sophisticated artists and the mediocre ones. The latter were ones who copied and stole ideas in a bungling method The truly fashionable could steal with finesse, incorporating their own pure style. That was what it came down to; one’s own style, own expression, own statement. It was inherent at birth. A true fashion artist was unconscious of what they were doing. Society set the standards of style by them without concerning themselves of what occurred. They knew they created a sincere statement and recognized others of the same. But, as with other art forms, it could only be interpreted, not taught. How does one construct that which has been with them all their lives? If one did not have the knowledge, one could only settle to be a decent copy. F■ A-S-H-l-O-N 27 ■ LINDA PERSON

Suggestions in the University of Arizona - Desert Yearbook (Tucson, AZ) collection:

University of Arizona - Desert Yearbook (Tucson, AZ) online collection, 1983 Edition, Page 1

1983

University of Arizona - Desert Yearbook (Tucson, AZ) online collection, 1984 Edition, Page 1

1984

University of Arizona - Desert Yearbook (Tucson, AZ) online collection, 1985 Edition, Page 1

1985

University of Arizona - Desert Yearbook (Tucson, AZ) online collection, 1987 Edition, Page 1

1987

University of Arizona - Desert Yearbook (Tucson, AZ) online collection, 1988 Edition, Page 1

1988

University of Arizona - Desert Yearbook (Tucson, AZ) online collection, 1989 Edition, Page 1

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