![]() ![]() Westwood was heralded as the ‘mother of punk’ before moving on to New Romanticism in 1981. R: Vivienne Westwood’s Pirates collection, 1981. Rabanne’s 1966 futuristic collection of geometric shapes sought to challenge haute couture with architectural shapes. L: Plastic chainmail miniskirt by Paco Rabanne, 1966. Each of these movements used aestheticism and fashions to communicate issues of identity and philosophy. Aspects of both of these movements fed into the New Romantic movement of the ‘80′s, and the Riot Grrl subculture of the ‘90′s. Tradition bound in leather, studs and rubber. Punk is notorious for it’s appropriation of tartans and plaids, dogtooth weaves and flag imagery. ![]() Mary Quant, the inventor of the miniskirt in her King’s Road shop stated that it was femininity in ‘ attitude rather than appearance.’ Much of this then fed into certain area of the punk movement of the 1970′s, which challenged a bourgeoise, over-indulgent culture in response to dissatisfaction with a country in crisis. The concept of taking a garment or fashion of tradition and twisting it, reinventing it and owning it has been a key foundation of a number of youth-led movements in the twentieth century, in particular the miniskirt revolution of the 1960′s which politicised skirt length and challenged gender norms and expectations. This with the radically pared down armour communicates both her agile combat style and her status and expression as a young woman. Sabine ‘spirit of’ designs, S1-3, by Killian Plunkett. This allusion may be relevant to Sabine’s future.) The equestrian element, in particular, may stand as a very subtle callback to Satine Kryze and her equestrian-influenced ‘adventuring outfit’. Panelled top and trousers clearly harken to sportswear, modern equestrian wear, with the blousing over the boots and stand collar still eluding to an element of tradition, uniformity. Streamlined, it is a much more athletic look in comparison to the established Mandalorian silhouette. ![]() However, the Mandalorian armour that she wears is emphatically her own. Throughout Rebels thus far, Sabine has been called many things: Spectre 5, The Artist, mechanic, rebel, tech expert, traitor, Little Sister, Cadet - but she always returns, emphatically, to Mandalorian Clan Wren of House Vizla. The helmet, the armour, Sabine is proud of her heritage and wants it to be known immediately. Ready for action, Sabine is armoured in her own history and life.Īt first glance, Sabine is identifiably Mandalorian. Sabine’s design is the very essence of wearable narrative. Its purpose is to convey character - if a costume doesn’t outwardly say anything then it should be obfuscating that character’s story on purpose. I talk a lot about the main purpose of costume being narrative. We have finally made it to 2017, and what better way to greet the new year than with the master of explosives, Sabine Wren? ![]()
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