co-creativity; new ways of understanding 1950's fashion angela partington university of the...
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Co-creativity; new ways of understanding 1950's fashion
Angela Partington University of the West of England
Co-creativity: new ways of understanding 1950’s fashion
• creativity: contextualised and collaborative
• collaborative interactions with consumers
• innovations in design practice derive from the relationships between practitioners and consumers
• the convergence of academic research and marketing
The democratisation of creative production?
Art and everyday life
Consumers have always used objects to transform themselves
Design has always been consumer-led
• Fashion ‘forecasting’• Cool-hunting• ‘bubble-up’ fashion-adoption • Stylistic proliferation
Understanding the production of meaning: post-critical methodologies
‘mass market’ fashion?
pleasures of spectacle: audience identity
Glamour vs Utility
Rita Hayworth 1940’s Dior’s New Look 1947
The Wild One 1953Chevrolet 1957Dracula 1958
‘Ruby Gentry’ 1952
Letty Lytton 1932
‘Written on the Wind’ 1956
Consumption: selective, eclectic and unpredictableIntertextuality: an effect of consumption
Creativity and Commerce‘Half a century of marketing science has had no impact on the 95%failure rate of new products’ (Brown, S., ‘Postmodern Marketing’, 1995)
‘Guitar music is on the way out’ Sony Walkman (1980) Teenage Mutant
(Decca Records 1962) Ninja Turtles (1992)
The C21st creative professional is a collaborator and mediator, a ‘hybrid manager’ who can ‘operate across disciplines’ (Cox Review 2005)
Hella Jongerius Dominic Anciano
M/M
Damien Hirst