Upon rumination, my work is ultimately an examination of the misappropriations of prescribed cultural ideals through fashion. As a material object, dress can make social distinctions tangible and prescribed, offering us opportunities for the reconciliation of social and individual identity.
The intimate relationship between dress and identity has been strenuous to compose, as the very nature of my own self-expression has been subject to scrutiny and presented coarse anxieties around how I exhibit and define my work. My mood boards act as an anthology into dress history and allows for an interim into the symbolic in fashion.
I articulated my apprehension into how positions of power could design into social infrastructure and my responsibility in displaying aspirational norms. A study into symbolic interactionism has helped to inform my rationale that through the act of analysing society we discover ourselves and our own values; just as my refection on designing for Ralph Lauren, inherently revealed my own design morals consecutively verifying my identity as a designer.
Studying post-colonialism in fashion contexts supported my affrmation into the obstructions of aspirational fashion as a woman of colour. My deliberation on fantasy as opposed to authenticity was intriguing in its role in evaluating a fashion system which relies on a culture where status is based on the histories we identify with.
Interrogating the veracity of my past work alongside examination of my practice’s historical and contextual theories has shed light on the intricacies of how they interact and offers a divination on my pursuit in fashion upon graduation.