Salford type foundry - DECONSTRUCTION WITHIN TYPOGRAPHY vs Alison Gill - Deconstruction fashion
Within the form section of my essay, I shall discuss deconstruction of typographic forms as a trend a movement. This area of exploration is particularly relevant to my essay because of how easy it is to draw parallels between the typography and fashion industries.
Throughout the late 1980s and early 1990s deconstruction began to pick up steam in response to its commercialization. Designers and corporations began to adopt what Cranbrook and other faculties were doing with Deconstruction. But these new methodologies being taken did not necessarily coincide with the theoretical approach that had been used the decade before. This transition did not come without growing pains, it forever changed how designers and the public alike viewed deconstruction. Chapter 2 will explore the typographic works of David Carson and Neville Brody in both corporate and creative fields ranging from magazines like The Face and Ray Gun to some of Levis corporate advertising and promotions. The application of deconstruction over varying mediums will be explored to analyse any changes in communicational ability to get an in-depth look at deconstructions shift in paradigm, and how this has effected its application within 21st century typography.
- easy parallel to Martin Margiela who was a prominent explorer of deconstruction within fashion, debuting in 1994
Deconstructive theory is part of a bigger entity than itself, post – structuralism. Its main concept is to change and reorder the misconceptions and ideals of western culture that structuralism embodies. Structuralism segregates opposites in western culture like, external/internal, image/reality, and representation/presence (Derrida, 1994). The theory of structuralism will regard one as superior, and the other as inferior. Deconstructive theory on the other hand, does not. “The deconstructive method seeks to undo both a given order of priorities and the very system of conceptual opposition that makes that order possible” (Poynor, 2003, p.46). The order of priorities which relates most to the medium of typography is speech/writing. This opposite has been one of the driving forces behind the uses of the deconstructive theory in graphic and typographic design.
The term deconstruction has entered the vocabulary of international fashion magazines, a label associated specifically with the work of Rei Kawakubo for Comme des Garçons, Karl Lagerfeld, Martin Margiela, Ann Demeulemeester and Dries Van Noten amongst others, and more loosely used to describe garments on a runway that are "unfinished," "coming apart," "recycled," "transparent" or "grunge." The same characteristics are referred to by the French as the style "Le Destroy" ("La mode Destroy" 1992; O'Shea 1991: 234), confirming for many who read the forms appearing on Paris runways as a literal disniantling 26 Alison Gill of clothes and embodiment of aestheticized non-functionality., that deconstruction "in fashion" amounts to an anti-fashion statement (a willful avant-garde desire to destroy "Fashion") or an expression of nihilism (i.e., absence of belief). It would be worthwhile to consider the parallels this style has with the influential French style of philosophical thought, deconstruction, associated with the writings of Jacques Derrida, and in doing so to re-visit its announcement in fashion and other design fields where the term deconstruction circulates.
dabble (all lowercase) is a vibrant, contemporary identity inspired by kinetics. The iconography represents both a perpetual motion machine and the wheel of a bike. Similarly to these machines the courier will ‘operate indefinitely without an energy source’ both a reference to the professionalism of service and carbon neutrality. Accompanied by a similarly geometric and affable custom typeface ‘dabble ST’, to be used for headings and applications of the logotype. Finished in a striking ‘Kinetic Orange’ and contrasting white colour way to help seperate dabble from competitors and ensure instant brand recognition all over Leeds and beyond.
Throughout the late 1980s and early 1990s deconstruction began to pick up steam in response to its commercialization. Designers and corporations began to adopt what Cranbrook and other faculties were doing with Deconstruction. But these new methodologies being taken did not necessarily coincide with the theoretical approach that had been used the decade before. This transition did not come without growing pains, it forever changed how designers and the public alike viewed deconstruction. Chapter 2 will explore the typographic works of David Carson and Neville Brody in both corporate and creative fields ranging from magazines like The Face and Ray Gun to some of Levis corporate advertising and promotions. The application of deconstruction over varying mediums will be explored to analyse any changes in communicational ability to get an in-depth look at deconstructions shift in paradigm, and how this has effected its application within 21st century typography.
- easy parallel to Martin Margiela who was a prominent explorer of deconstruction within fashion, debuting in 1994
Deconstructive theory is part of a bigger entity than itself, post – structuralism. Its main concept is to change and reorder the misconceptions and ideals of western culture that structuralism embodies. Structuralism segregates opposites in western culture like, external/internal, image/reality, and representation/presence (Derrida, 1994). The theory of structuralism will regard one as superior, and the other as inferior. Deconstructive theory on the other hand, does not. “The deconstructive method seeks to undo both a given order of priorities and the very system of conceptual opposition that makes that order possible” (Poynor, 2003, p.46). The order of priorities which relates most to the medium of typography is speech/writing. This opposite has been one of the driving forces behind the uses of the deconstructive theory in graphic and typographic design.
The term deconstruction has entered the vocabulary of international fashion magazines, a label associated specifically with the work of Rei Kawakubo for Comme des Garçons, Karl Lagerfeld, Martin Margiela, Ann Demeulemeester and Dries Van Noten amongst others, and more loosely used to describe garments on a runway that are "unfinished," "coming apart," "recycled," "transparent" or "grunge." The same characteristics are referred to by the French as the style "Le Destroy" ("La mode Destroy" 1992; O'Shea 1991: 234), confirming for many who read the forms appearing on Paris runways as a literal disniantling 26 Alison Gill of clothes and embodiment of aestheticized non-functionality., that deconstruction "in fashion" amounts to an anti-fashion statement (a willful avant-garde desire to destroy "Fashion") or an expression of nihilism (i.e., absence of belief). It would be worthwhile to consider the parallels this style has with the influential French style of philosophical thought, deconstruction, associated with the writings of Jacques Derrida, and in doing so to re-visit its announcement in fashion and other design fields where the term deconstruction circulates.
dabble (all lowercase) is a vibrant, contemporary identity inspired by kinetics. The iconography represents both a perpetual motion machine and the wheel of a bike. Similarly to these machines the courier will ‘operate indefinitely without an energy source’ both a reference to the professionalism of service and carbon neutrality. Accompanied by a similarly geometric and affable custom typeface ‘dabble ST’, to be used for headings and applications of the logotype. Finished in a striking ‘Kinetic Orange’ and contrasting white colour way to help seperate dabble from competitors and ensure instant brand recognition all over Leeds and beyond.
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