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Janoschka magazine Linked_V4_2019

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issue #4 ©<br />

l i n k e d<br />

19<br />

A new dawning<br />

People expressed their new world view<br />

with their clothes as tokens of their changed<br />

attitudes and their new lifestyle. Until then,<br />

fashion had been dominated by the tastes of<br />

a wealthy and above all, established elite. The<br />

styles worn by young people hardly differed<br />

from their parents’ generation: girls and young<br />

women wore the same dresses and coats as<br />

their mothers – often even made by them – and<br />

went out carrying handbags, gloves and hats.<br />

Then everything changed overnight: the popstars<br />

of the era were absolute gods. Their<br />

clothing and way of life had a major impact<br />

through the young medium of television. At the<br />

same time, increasing financial independence<br />

allowed young people to do what they wanted.<br />

They were able to express their identity<br />

and their feeling of freedom. The fashion<br />

industry quickly responded by creating designs<br />

for young people that no longer simply copied<br />

“grown up” styles. Innovative designers were<br />

seen as creators of fame, sex appeal and glamour.<br />

They created a new market for youth fashion.<br />

A new “business model” was essential for the<br />

full potential of this new kind of youth fashion<br />

to be exploited. As a result, a special type of<br />

boutique emerged in London, i.e. small self-service<br />

shops providing ordinary young people with<br />

affordable fashion. The shopping experience<br />

was a far cry from the more formal outfitters<br />

and old-fashioned department stores.<br />

Their radical new approach with expressive<br />

colours, distinct lines and individual items that<br />

could be combined in a creative way swiftly<br />

spread across the whole Western world. To this<br />

day, this kind of fashion boutique characterises<br />

city centres and our shopping experience. They<br />

were the expression of a wild, revolutionary and<br />

free generation.<br />

Printed fabrics<br />

Textile printing is an old tradition<br />

that has always required expertise<br />

and precision. As the demand for<br />

large-format printed images grew<br />

in the 1920s, textile screen printing<br />

started to develop in Europe and the<br />

United States parallel to the advent<br />

of graphic screen printing.<br />

Rotary screen printing is the technique<br />

of choice when printing fabric<br />

panels. The fabric lies flat, the printing<br />

tool is a sleeve or cylinder. Acting<br />

as a template with a perforated<br />

surface, it allows ink to be applied to<br />

the open sections.<br />

The cylinder rotates in one direction<br />

in sync with the movement of the<br />

fabric. A doctor blade fixed inside<br />

the cylinder applies the ink to the<br />

fabric.<br />

Printing on textile substrates is more<br />

complex than printing on paper because<br />

different fabrics require special<br />

inks and printing tools. The automation<br />

of printing processes has<br />

not changed this. Working closely<br />

with the designer, the engraver perforates<br />

the nickel sleeves for the<br />

cylinders based on the design to be<br />

printed. Since the screen printing<br />

templates often have a maximum<br />

thickness of just 100 µ, but can<br />

measure up to 3.5 metres in width,<br />

the manufacture and handling of<br />

screen-printing templates requires<br />

the utmost care and expertise.

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