British National Identity in Design - Case Study Example

British National Identity in Design Introduction The fashion scene in Britain is typified by opposing sides; Cool Britannia versus Rule Britannia, punk versus pageantry, or anarchy versus monarchy. It can be cited as a fashion culture that is very unique for being contradictory. Since British fashion is well renowned all across the globe, it is intriguing to appreciate how the contradictions come together to “sell Britain.” What it means for those who find these contradictions fascinating is also a web of more intriguing information. Preference of clothing design communicates loads about individuals, and this has increasingly garnered more interest from the global population as the world has incessantly come together (Goodrum, 2005). General fashion design trends in a community as large as Britain communicate even more. A close assessment of the designs of key fashion companies in the region can provide revealing insights into the culture of the contemporary fashion scene and the impasses of ‘going global.’ Yet no particular perspective can be used to define the fashion scene in Britain particularly as a direct outcome of its ambiguity, yet this scene is distinctively unique to Britain. The interplay between fashion design and ‘Britishness’ redresses an omission in fashion theory that has been present for a long period and one that has been lost in the thought of gender, race, and social class than with national identity (Goodrum, 2005). The intent of this paper is to shed more light on the issue and particularly illustrate how theories based on design can be utilised to appreciate the significance of British national identity. Fashion Theory The term is quite recent and can be described fashion as a cultural conception of the embodied identity. The dressed body is the main area of focus from this discipline that pays attention to an area most shun. It is time that scholars paid more interest on the way individual dress and what it has to tell about them. Similar collective dressing modes may tell a lot about communities and that is one of the reason the field is summoning much attention from different parties (British Fashion Council, 2014). The case of British dressing is of major interest in this case. Fashion in Britain London is one of the four key fashion capitals, and notably hosts the London Fashion Week which is also one of the ‘Big Four’ fashion weeks on the global calendar. This event occurs twice each year in February and September, and provides a platform for the British to showcase their unique approach to design. Over 150 British designers grace the event each time, but this is not the only chance they get to show their creations. There are numerous off-schedule events organised by the artists such as the Vauxhall Fashion Scout and the OnIOff. There are some prominent designers that showcase their design during such events such as Vivienne Westwood and Mulberry, while models such as Naomi Campbell, Kate Moss, David Gandy, and Jade Jagger have also graced such events (British Fashion Council, 2014). All in all, the nation provides a lot of contribution to the global fashion market in the unique way it knows how. British National Identity in Design A culture such as the British can be expressed in different ways. The Scottish have their own unique ways, and so do the English and the Welsh. The interaction between the people of the nation have also provided for unique cultures that are solely present in the region. People have found ways to express these cultures in different ways such as design, in a way that can be seen as an expression of British national identity (Breward, 1995). This is not a concept that is existent and rigid on itself largely because it is not anticipated, but one that can be used to deduce theories of national identity. Vivienne Westwood One of the most recognised and established British designers. This accolades are particularly awarded to her as a result of creating very unique designs that exemplified her culture, and that of Britain as well. Her success on both local and international platforms can be seen as a demonstration of how good she really has been in the business. There are literally millions of designers in the globe that strive to compete for the same market, but only a few amass as much success as Westwood has (Beeching, 2009). What is unique in her style is that despite all the success she has attained on the global scale, her designs are extensively a reflection of British identity. Punk and New Wave One of the most reminiscent styles of British dressing is the punk style that was very popular on a national scale in the 1970s and 80s, but still popular with many today as well. The style revolutionized many spheres such as that of fashion as well as that of music. It receive a very considerable following from many people from across the globe. Westwood was one of the key figures to design the styles, as one who continually conceived dynamic ways of altering it to form different versions of the same (Beeching, 2009). Britain was notable the key origin of the style that was promptly picked up by the global scene. Westwood was the key figure behind the style but its success and liking by the masses summoned the entry of other designers. However, all the subsequent designs were in many ways replicas of the originals made in Britain. One notable consequence of the style was many of the designs were done in Britain, and that most of its follows looked upon the nation to make more and more appealing designs. Westwood and the other designers did not disappoint (Horyn 2009). The close relationship between the punk style and British designers, and the fact that the style achieve global success means that the style can be viewed as an expression of national identity. Anyone that appreciates the style is very likely aware of the British contribution to its success. In a similar way, Britons can view the style as an expression of their identity in the world where people are incessantly becoming one. To expound on this matter, punk can be seen as a culture like that is very unique to a specific people. For instance, the character Robin Hood and his theatrics can only be linked to the British people and hence act as a form of national identity (Dant 1999). In the same way, the punk style is very unique to the same region and can hence also be viewed as a source of national Identity. Westwood was also a key figure in the designing of the new wave style. Punk and new wave were very similar in many ways but had their unique ways to it. New wave can be seen as more of a music genre with a unique style of clothing; where Westwood played a key role. The style also came out when there was a lot of interest on the British music scene as a consequence of the impact of the Beatles on the global scene. The role that Westwood played for this style and that of punk literally formed the foundations of her career in design and placed her on the global map. If anyone today with the appreciation of design would look at the case of punk and new wave styles, and what they have done for the many discipline that were lucky enough to be impacted by it, it would be easy to verify the input of British effort. In many ways then, the styles, and their eventual outcomes can be seen as ways to describe specific British cultures. The contribution of Westwood to this two styles may have been inspired by the success of the Beatles in the prior years. The same way people view the Beatles as an exemplification of British identity, they should also view these styles through the same perspective. This might however require the input of some knowledge regarding the styles since most people may be aware of the Beatles and some of the songs they played, but the specific genre of the music might be intricate to figure. Punk and new wave styles are not well known by most people, including those who may know of Westwood, but those who are aware of these styles should view them as an exemplification of British identity (Horyn 2009). Mulberry Roger Saul and Joan (his mother) were the key individuals behind the establishment of the Muberry Company 1971 that has since played a very significant role in shaping the fashion design culture of Britain and the globe at large. The company established itself as a lifestyle brand to the British people, and it initial humble beginnings meant that much was not achieved in its initial years. However, it took the time to construct very burly foundations from which it carried out its objective of reaching the global platform. Presently, the company has stores in Britain, and all across the globe in economies such as the United States, Europe, Asia, and Australia. It is an illustration of the much success that the company has accumulated over time since its establishment (Menkes, 2014). Very similar to the approach adopted by Westwood, Mulberry took a very unique approach to making their designs. One of the most notable products from the company were the leather poacher bags including the binocular bag and dispatch bag. The company mainly focused on feminine bags since they were a major statement in the fashion world and would likely make more than any other form of product. The uniqueness was added upon by the use of leather in the making of their products, a practice they still use currently. They however made other products that can be said to be fit into categories such as womenswear, menswear, and footwear. Global recognition of the brand, particularly as a result of its persistence on using leather, has ensured that it remains a relevant player in the industry. Its success has also helped people identify it with the British design scene. Its long-standing reputation as a global design enterprise, compounded by its early endeavours to capture the British market makes it stand out as a British success story. The British people can hence identify with the company in that it has taken a route to business that no other company in the same industry has. This is what identity has to do with; it is what sets one apart from the mainstream. The same can be said about the designs of Westwood discussed earlier (Menkes, 2014). Contradictions/ Diversity In The National Fabric: Fashion, Britishness, Globalization, Goodrum (2005) expresses how diverse the fashion culture in the nation has come to be. Since its humble days before globalization had taken over, to presently where Britain is a key figure in the global fashion trends. The expertise that has been amassed through the years has diversified and accounted for a very unique form of design culture feed by the global expectations. Britain as stated earlier is a market leader in fashion and design, and the aspect of globalization has meant that this role has had to be played on a global scale. Goodrum (2005) cites this expectations as the main cause of the contradictory nature of the design sector in Britain unlike some other regions that have stuck to the same designs. The industry has drastically grown with the onset of globalisation due to the economic gains that are there to be ripped. The ‘Britishness’ in it all is in the diversity that has come to be, and not in any form of design. Not many nations can boost such a vast design scene, which has made once worshiped designers and companies such as Westwood and Mulberry less significant because of the emergence of others numerous competitors. Summary Only a few people may identify British national identity through design. However, those who appreciate design and the much that Britain has contributed to the field should be aware of this concept. There is more to British identity than literature, beliefs, sports, and so forth. The people of this nation should search deep, because there are many more areas to identify with (Breward, 2002). Design has been an area in which Britain has excelled for a long time, and players such as Westwood and Mulberry are a testament to this. References Beeching, P., 2009. Me & my garden: Vivienne Westwood. [Online] Available at: http://www.telegraph.co.uk/gardening/5983691/Me-and-my-garden-Vivienne-Westwood.html [Accessed 20 February 2014]. British Fashion Council, 2014. About the British Fashion Council. [Online] Available at: http://www.britishfashioncouncil.com/content/1847/Introduction [Accessed 20 February 2014]. Breward, C., 1995. The Culture of Fashion. Manchester: Manchester University Press. Breward, C., 2002. The Englishness of English Dress. London: Bloomsbury Academic. Dant, T., 1999. Material Culture in the Social World. London: Open University Press. Goodrum, A., 2005. The National Fabric: Fashion, Britishness, Globalization. London: Bloomsbury Publishing PLC. Horyn, C., 2009. The Queen V. [Online] Available at: http://www.nytimes.com/2009/10/18/t- magazine/womens-fashion/18westwood.html [Accessed 20 February 2014]. Menkes, S., 2014. Mulberry Bags Raise Eyebrows. [Online] Available at: http://www.nytimes.com/2014/02/17/fashion/cara-delevingne-helps-create-mulberry handbags.html?_r=0 [Accessed 20 February 2014]. Read More