Project Proposal

Cassie Hoeprich, Molly Slusher and Natalia Valle

Berlin Study Abroad 2009

June 2, 2009

Project Proposal: Fashion in Berlin

I. Abstract:

 

“Fashion is an expression and a reaction. It’s a reflection, and even a proposal, on the current situation of our society.” Helmut Lang, German Fashion Designer

 

In terms similar to the ideals this famous German designer holds, a society’s identity is physically depicted through fashion and the manner in which individuals express their beliefs and lifestyles. Across the world, amidst varied economic standings, genders and many other subdivisions, fashion provides the means to divide and define a society. In fact, fashion tends to be the first thing we notice about a society, culture or individual. Aesthetics are the first distinction in view. Fashion is how we relate or how we stand out. It is a means of creating a referential difference between people and the varied ideals those people hold. Now that our world has become so globalized and connected from increased technologies and means of communication and trade, fashion transcends language barriers and creates a unifying tie between different races and cultures. Our research team chose to study the fashion of Berlin, as the city is known as a capital in the trade as a habitat for the “cutting edge” trends of the industry. Fashion itself is one of the main markets that reflect Berlin’s history, economics, culture and overall identity. 

II. Background –

 

“ The most important and intriguing thing about fashion is that it relates to people immediately” Helmut Lang, German Fashion Designer

 

The notion that fashion is immediate and reflective of a person’s ideals at any given time is what makes it so important to a society’s holistic identity. Fashion has always been a form of expression since the beginning of mankind. Take Adam and Eve for example. Their only form of clothing was a fig leaf, which was symbolic of man’s separation from god and nature. Symbolism as deep as man’s relationship with God be communicated through even the simplest of fashion choices. If we look back on history, societies big and small have developed specific trends that worked to create an identity. Even if we look at Eras alone, we see how fashion progressed, how new technology was utilized to make clothing and accessories more advanced and distinct. For example, the bell-bottom jeans and flowing tops were classic to the fashion movement of 1970s in United States.

Fashion has specifically defined Germany throughout many of its stages of suppression and then self-expression.  During WWII, the Hugo Boss Company manufactured the uniforms of the Nazi Schutzstaffel and those of the Hitler Youth. During those years of suppression, East Germans had a much different style than the people of Berlin do now in the 21^st century. After the wall came down, Easterners became much more self-expressive and were able to leave their subjected position as the suppressed and become increasingly creative in the face of freedom. Another aspect of Germany’s fashion history is reflected in the times in which Germany was made up of over 100 different regions, scattered throughout Europe. While Germany was not physically connected, individuals within each region had distinct fashion choices that in turn reflected Germany’s identity as a whole. These regions were able to use fashion as a way to connect with one another, even if they were not able to be within close to one another. These changes in fashion trends reveal a lot about the political and cultural happenings of Berlin at a given time.

Now, Berlin serves as an economic and fashion capital for Germany. The population was at one time so suppressed and regulated that it has now had an adverse effect on the current unique inhabitants of Berlin. From before the days where East Germans all wore standardized clothing, the German district of

Hausvogteiplatz has been a center for some of Europe’s biggest designers. The area was shut down during the Nazi era but is now again thriving in the production of textiles and garments. With the demolition of the Berlin Wall, the city was better able to serve as a capital because of its centralized location as a fashion center.

With its emergence as a fashion core after the destruction of the Berlin wall, globalization became to rein Berlin’s culture and fashion. As international brands and clothing characteristic to the West began to litter the people of Berlin, these fashions reflected the increased involvement in global affairs via the increasingly growing impact of western culture. The freedoms that came with these ideals were rooted within the notion of the independence of western life.

Berlin also is now a major leader in fashion and is home to many major fashion icons. Globally, fashion icons have served as a historical influence in the fashion industry and have not only shaped trends, but they have shaped the way the public views various items and styles. These icons have created a social expectation for fashion and an icon-based identity shaped by the views and personalities of the icons themselves.

     III. Question I 

     By: Molly Slusher

When the Berlin wall came down, how did the East and West either merge or further separate from each other in terms of fashion-derived identity? Also, how did the East leave its once subjected position as a socially constructed identity based on uniformity and become creative in the face of freedom?

 

I chose this question because I found that fashion was the best way to combine multiple facets of the ever-changing German people and culture. I have learned the German’s have always been advocates of self-expression and are considering trendsetters in the elite world of fashion. As many class presenters have said, one could note the differences between people from either side of the city solely based on what they were wearing. I also found it interesting that the East side housed the center for designers. Considering they were the subjected position of a constructed identity based on the Nazi rule, I found the divisions between East and West most interesting in terms of appearance and fashion identity. The fact that someone could just look at someone and associate the person with a location, idea and a lifestyle is amazing to me. The idea of a completely aesthetic identity is intriguing as it leaves discourses for many other factors that construct a social body.

When researching this topic of creative differences in the two sides and the emergence or separation of the two based on fashion is bound to include pre-constructed biases from myself, the researcher. I have come in knowing the effects of the destruction of the wall on the city and thus am expecting to see a cohesive idea of fashion within the city. I know it was at once separated and will specifically be on the lookout for differences in the sides and the feelings the people of the two sides feel towards the styles or garments of those from the other. I live in a city where there is little difference between areas, unless it is routed in socio-economic differences so it will be interesting to see what factors create differences in Berlin. In my generation, there are socially constructed fads that we as the public must follow in order to maintain a given identity. I will be looking at the fashion in terms of the trends I know from my home in the United States, but now that fashion has become so globalized, I am unsure how to assess the differences and similarities between this mean of expression.

Molly’s Daily Schedule:

- Use my camera and logbook to note differences between the East and the West.

- Notes from Interviews of people who have witnessed the changes and their ideas on these changing trends and positions.

- I am going to speak to local magazines and try to find a center or publication for fashion journalism and see their take on the creativity that stemmed from the freedom that Berliners received with the destruction of the wall

-School of Fashion: to see the influences emerging designers use and their influences from the former divided days

- Kurfürstendamm and Friedrichstrasse: these areas are full of department stores and boutiques

-Kaufhaus des Westens on Wittenberg Platz: Europe’s largest department store- filled with international designers

- Staaliche Museen zu Berlin: texile collections

- Deutsches Technik Museum Berlin: textile collections

Works Cited

"Fashion." Berlininfo.com. Berlin Information Group.

Halley, Peter. "Helmut Lang." Index Magazine 2004.

 

Mallia, Mary E. "International Directory of Textile Collections."

 

IV. Question II 

     By: Cassie Hoeprich

How has globalization impacted the fashion choice in Berlin? Has it played a major role on the formation of identities through fashion choices? After the fall of the wall, was globalization more influential or less? Today, are global trends accepted or rejected in the Berlin societies?

 

            The way that I came about forming my question stems back to my first love: the media. As a hopeful Journalism major, I am consumed by the power over media on us all. The most astonishing aspect to me is the way in which it can turn entire cultures into simulation puppets that merely mimic any idea or trend that they have projected on to them by the media. Media is essentially the number one supporter of globalization. It connects individuals throughout the world in ways we have never seen before. Major events that occur in one country are heard about in another in a matter of minutes, sometimes seconds. Globalization is fueled by the power of the media.

A major component of globalization that we see translated throughout both industrialized nations and unindustrialized nations is fashion. Fashion has become a universal language, bringing designers together, filling department stores around the world, and helping us all to express our inner selves. Fashion choices have always been a symbol of our identity, yet now more than ever it seems to be doing the opposite. With the power of the media and the undeniable impact of globalization, we see the same trends in the most distinct countries. From America to Japan to Germany, people adorn clothes that are designed by the same individuals. Gone are the days of being able to identify a culture simply by what they wear. Even the head scarves of Turkey, symbolizing deep religious meaning to Turkey’s major Muslim population, our now a must-have style we see echoed throughout a range of societies well outside of Europe.

What I hope to find is how globalization has impacted Berliners’ fashion choices. How universal trends settled during the 90s when East and West were reuniting. Were the societies brought together by trends, leaving their individual fashion identities in the past? I also want to explore how globalization impacts Berlin today. Since it has been 20 years since the fall of the wall, do we see individuals rebelling against the machine of globalization? I have found articles that discuss how many individuals want globalization to be a thing of the past and are attempting to regain some cultural identity by forming trends specific to Berlin.

The biases that I knowingly face are that I come from a nation that develops many of the trends that we see globally and that all I have ever known is heavy commercialization. While there are a range of designers and trends that originate from societies other than the US, many trends that we now see on a global scale come from here. We see this in slight things, such as American slang or common phrases (i.e. “dude”, “cool”, etc) and logos (i.e. Vans, Juicy Couture, etc) displayed on articles of clothing found in many other areas outside of the US. We outsource for production in countries such as China, India, and Taiwan, and as a result, we spread our trends throughout many continents. While these trends may be seen around the world, the concepts and copyrights are from the US. I am somewhat numb to seeing these items, so their presence in other countries may not stand out to me as much. Because of that, I will be paying close attention to any and all fashion choices I come across in Berlin

Another bias that I face is my lifetime of exposure to commercialization and results of intense globalization. While my parents generation grew up in an era that was not all that long ago (20 or 30 years ago), they still did not experience globalization at the scale that we do now. Because of this, as I go to other countries, I am only surprised when I don’t see billboards, bombarding and obnoxious ads, or any other sort of heavy marketing. I am going to be making an extra effort to truly explore the mindset of those older than me while I am in Berlin to see how and when globalization came in to play. Especially since Germany was not fully united until quite recently, unified trends may not have even fully developed before the days of TV commercials, the Internet, and massive conglomerates may have played a major role in the development of their “identity”. That is why I will have to be making sure that I am able to seek out what it meant to have true cultural identity – if that ever existed in Berlin.

 

 

Daily Schedule:

 

People to meet:

• Today’s youth and individuals from older generations (compare and contrast both’s experience with making fashion choices)
• Department store owners/managers/buyers (ask how and why they make the decisions to purchase clothing items)
• Vintage clothing stores owners (ask them what designates something as “vintage”, “classic”, etc)
• Fashionable individuals or any individuals, young or old, who claim to be leaders in trends (ask them what makes their style distinct, does it go with or against international trends, etc)

 

Places to go:

 

• Department stores (i.e. Potsdamer Platz shopping area)
• Vintage clothing stores/ flea markets
• High-fashion shopping areas (i.e. Quartier 206 in Berlin Mitte)
• Areas where the youth is readily found (for interviewing)

 

Equipment:

 

• Video camera for recording scenes and interviewing
• Pictures to document fashion sightings
• A notebook to record any observations/revelations

 

Information I plan to gather:

 

• Information about today’s trends vs. trends of the past (West vs. East)
• What is “in”, why it is “in”, and what designates something to be trendy or “uncool”
• Find out what are trends of the past and how globalization played a role in the development of them
• Find out how individuals, of all different backgrounds, feel about globalization and how it impacts their fashion decisions
• Determine if globalization is accepted, rejected, or neutral in Berlin

 

References:

 

Book:

• Paulicelli, Eugeina. The fabric of cultures; fashion, identity and globalization.

 

Website:

• Goethe-Institut Fashion Scene, http://www.goethe.de/kue/des/prj/mod/enindex.htm
• Fashion Infomat, http://www.infomat.com/trends/inftr0000505.html
• Young Germany, http://www.young-germany.de/

 

Magazines:

• Der Spiegel, investigative German magazine

 

 

V. Question III

     By: Natalia Valle

What impact do fashion icons have on the over-all culture of fashion in Germany?  Who are these people and why are they icons?  What is considered to be "German" fashion (such as a Chanel suit is considered French fashion etc)? Does that fashion (like French or Japanese) relate to a German sense of self or identity?  What makes a label or brand iconic?

 

I choose this question for a number of reasons.  First the topic, which myself, Molly and Cassie all have a passion for was my first reason for ultimately choosing to write and research about fashion culture.  When we were asked to further this idea by researching personalized topics the first idea that came to my mind was iconic figures in Germany.  This stems from my knowledge that much of American fashion is centralized around the figures that we deem as iconic or note worthy.  For example many people still refer to the fashion or, “Marilyn look” based off of actress Marilyn Monroe.  This look is the classic white halter dress, bright red lips, and lightened platinum colored hair.  Currently people in the college age group refer to the “Urban look” based off of the popular retailer, Urban Outfitters, which embodies a post modern, bohemian chic look. 

American’s thrive off of these references and even more often look toward these icons to create their own personal fashion identity.  Now knowing this, is Germany similar?  Are the German people as obsessed with the icons in the fashion industry to tell them what is in and what to wear in order to appear a specific way?

The research I have conducted thus far is based must on the American side of the iconic ideals in fashion.  An article in Harper Bazaar emphasizes the fashion icons past and present in their November of 2007 magazine.  This discusses the people that have made a significant change in the fashion industry in America due to their influence. 

In the German culture I have had a much more difficult time trying to research brands and iconic figures.  I was able to learn a little about Betty Barclay, the number one selling women’s clothing brand in Germany.  It was very difficult to do a lot of research because of the language barrier though.  On another separate source I was able to find references to traditional German fashion such as, “the dirndl, consists of a closefitting bodice combined with an apron in a different color. Sometimes it’s sleeveless and worn with a cotton and lace blouse; sometimes it features sleeves and a high neck. Hats are often costly and elaborate. They vary according to occasion and region: 'Goldhauben' (Upper Austria) and 'Bollenhut' (Black Forest region, Germany) are only worn on festive occasions.”  In reference to modern fashion they mentioned, “German fashion is more than the traditional tracht. A highly urbanized German society has produced its own style and exported it to the world. Jil Sander redefined the classic chic with her well cut suits and costumes.”

 

Cultural Sensitivity:  The main biases that I have to deal with are my bias as an American and more importantly as an American who loves American fashion.  I must remain aware of what I think is German fashion what as an American I think is an German fashion icon and why it is them.  This is a very common issue I think and something that I will have to be extremely conscious of while performing my research abroad.  I must also be aware of people and brands that I have no heard of before from the public and be willing to research the unknown.

 

Daily Schedule: The plan I have to research this topic is in 2 separate forms.  The first is through research in retail stores and designer stores and the second based on the people of the city of Berlin.

-       Location: I plan on using an area in Berlin that has an open atmosphere where people are consistently walking through and around the area.  I also want to talk with the marketing and/or their buyers if possible.  I would like to see what they look for and what classic looks they like to have available to the public at all times.

-       Transportation: I would walk to as many places as possible and if not use my metro pass for the bus or trains.

-       Equipment: I plan on using a logging book to log any specific things I see or here as well as a voice recorder for any interviews I conduct and a camera for all of the photos of people from the streets who express what is determined to be a German iconic style, as well as of people with their definition connected to the photo.

-       People/Places: I would like to try and find the largest department store both for the middle class (such as a Macy’s in America), a high-class department store (Barneys of New York), and smaller popular boutiques that the public deems as notable.

 

Works Cited

 

1. Gordeeva, Tatyana. "German Clothes and Fashion." German Culture. 02 June 2009
2. Menkes, Suzy. ""Bazaar" fashion icons through through the decades." Harper Bazaar 18 Oct. 2007: 1-8.
3. "Traditional German Clothing - German Fashion - Lederhosen & Dirndl." About Germany: your travel guide to Germany, Deutschland, Aleman. 02 June 2009 .