Re-framing fashion : from original and copy to adaptation
Re-framing fashion : from original and copy to adaptation
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重塑时尚：从原创、复制到改编
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发表时间：
2010
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通讯作者：
T. Ferrero
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作者：
T. Ferrero
帕廷顿指出，由个人消费者通过调整图案而生产的服装被背景化为原始高级定制服装的淡化版本。在最简约的形式下，这一概念将时尚描述为商业性和剥削性。挪用、模仿、复制等描述限制了人们理解时尚作为一种主要的全球文化形式和制度的机会。因此，探索和理解适应的概念将把注意力从表面上对原创与模仿或复制的评估转移到适应，将其作为一种实践，为理解设计师和时装设计师的创新实践和创造力提供了更好的框架，也描述了消费者在微观层面对时尚的积极参与。适应也可以提供一种方式来理解时尚体系中不同的历史转变，从个人创意机构制作和重新制作家装，到大众市场的爆炸性增长和随之而来的这种做法的放弃。家居服装制作已经被大规模生产服装的时尚混搭所取代，这一做法在我们全球化的快速时尚环境中蓬勃发展。因此，本章建议需要对原创、复制、仿制和版权等概念进行上下文重新界定，并辩称这些类别相互竞争，但实际上它们是相互依存的。今天，大品牌和企业集团试图通过版权来控制知识和创新，但时尚逃脱了版权，因为在时尚界，创造力是与背景相关的。从1868年起，高级定制服装的制度化成为控制时尚生产过程知识的一种方式；另一方面，通常具有颠覆性的适应实践一直是时尚民主化的基础。
Partington notes that clothing produced by individual consumers through adaptation of patterns is contextualised as a watered down version of original couture. In its most reductive form, this notion characterises fashion as commercial and exploitative. Descriptors such as appropriation, imitation, copy and so forth have restricted the opportunity to understand fashion as a major global cultural form and institution. Therefore exploring and understanding the concept of adaptation will shift the attention from a superficial assessment of original versus imitation or copy to adaptation as a practice that provides a better framework for the understanding of designers’ and couturiers’ innovative practices and creativity, describing also the active engagement of consumers with fashion at the micro level. Adaptation can also provide a way to understand different historical shifts in the fashion system, from individual creative agency with home dressmaking and re-making to the explosion of the mass market and the consequent abandonment of such practices. Home dressmaking has been replaced by fashion remix of mass produced garments, a practice that thrives in our environment of globalised fast fashion. Thus this chapter suggests the need for a contextual requalification of concepts such as original, copy, imitation and copyright, and argues that these categories have been played against each other, but they are in fact interdependent. Today, big labels and conglomerates try to control knowledge and innovation through copyright, but, fashion escapes copyright because, in fashion, creativity is contextual. The institutionalisation of couture from 1868 served as a way to control knowledge about production processes in fashion; on the other hand, adaptation practices, often subversive, have been fundamental to the democratisation of fashion.