Figure 2.1: Autumn/Winter 1983 鈥淲rapped鈥�

Kawakubo鈥檚 resistance to definition extends even to the component parts of each garment. In the 鈥榃rapped Collection鈥� garments were wrapped and draped, with 鈥榝laps and appendages that could be tied鈥n a variety of ways so that each garment permitted a multiplicity of wearings鈥� (Shimizu, 1995). It can be seen in the garment in the above (Figure 2.1) that the dress could be tightened or loosen through a few knots with the option of adjusting the neckline open to the wearer. The garment which seems like it was largely made with as few seams as possible and with no traditional closure (buttons, zips or hook & eyes) allows the wearer to use creative means to adjust the end look of the product.

Figure 2.3: Comme des Gar莽ons S/S 1998

The later 鈥楨lastic Collection鈥� (Shimizu, 2005) contained a number of elasticated holes. It was up to the wearer to decide which hole to use for which limb, and where to position the spare holes, which would reveal another layer beneath. Figure 2.3 shows a simple interpretation of said concept which consists of a rectangular piece of elastic fabric with 2 holes stitched onto the centre back seam of a basic dress. These 2 holes are left to the user and how she decides to use said garment. Kawakubo has successfully negotiated with the basic principles of design while adequately involving her own methodology. Avoiding the need to follow a 1-to-1 interpretation, she has seems to have created a new form of work but in reality is working around the basic principles of design.

3. Carol Christian Poell

Born in 1966 in Linz, Austria, Carol Christian Poell first enrolled in a school for commerce before completing several courses on fashion in Austria and completing a Masters from Domus Academy in Milan. Not much is known about Poell, no official photographs taken, but he has held his secretive persona up to this day. He started his company in 1995 and has, up to date, produced collections up till 2010 before he stopped taking part in the fashion calendar. The 2010 collection has been reproduced for less than 10 shops around the world. A unique phenomenon on the expansive terrain of international fashion, he is often asked if he feels like an artist or designer to which the answer is always 鈥渞esearcher鈥� or 鈥渋ndustrial designer鈥� (Cosgrave, 2006). For Poell, fashion education was strict, where he majored in men鈥檚 tailoring to learn the nuances of making to measure with precision. However, it was only after graduation when he was set free, where he found greatest passion in his work, 鈥淚 have every day to feel like I鈥檓 working on a scientific experiment鈥� he proclaims.

It is no secret that millennials like to share almost every aspect of their lives on social media. This translates to them shopping more since they do not want to be seen in the same outfit too often.

Top local fashion blogger, Viola Tan, also the founder of Love.Bonito; constantly uploads fashion and her lifestyle pictures to establish her brand and associate Love.Bonito as a trendsetter in Singapore. Fashion School for many local millennials, they look up to Viola as she not only possesses the looks; but also have the brains to build a successful entrepreneurship. Loyal followers, like many others, will comment on her posts to establish a connection.

Social media is something that almost everyone today owns and uses. You might be deemed as 鈥渙utdated鈥� if you are not using it. One is usually expected to be comfortable with the platforms professionally as well. This is hugely evident on local job search portals where you鈥檒l see plenty of job opportunities looking for social media professionals in the fashion industry. Social media is a key channel for brand building and engagement with customers nowadays and businesses need to maintain their social media presence.

Social Media and e-commerce will continue to flourish in the Fashion industry. Many people still tend to be easily influenced by personalities in the online space and they aspire to be like them. Although it may seem to not make sense for people to lose their individuality and follow blindly of what is trending just to 鈥渇it in鈥�, it is an undeniable force that social peer pressure is a powerful and major driver for the boom of digital in the Fashion industry.