A Royal Wedding brings together the worlds of performance art, fantasy, creativity, design, and entrepreneurship. One little-explored theme is the back-engineering going on centred around the design of the bride’s dress by teams of creative copyists intent on bringing their products to the market within days.
Teams of designers were in place. This is much the same as what happens in the world of product development with design teams anticipating the shape of things to come in the next Apple launch, or the latest twists and turns in tennis gear. From the first glimpses of the new designs, together with years of study, the designers discern the essence of the creative leaps involved. The possibilities for sincere flattery are assessed and enacted. Issues of financing, sourcing of materials and supply-chains mulled over
An interesting point. What are the guidelines. One designer told the BBC [Sunday April 30th 2011] that was alright as long as she just didn’t copy it too closely. That’s a new interpretation of the complexities of IP legislation for me. Yet the creation of the bride’s dress was never intended to produce a prototype for subsequent marketing.
Invasion of the body snatchers
I need some journalistic licence here for the connection between the main story and that other much-loved piece of art, the 1956 movie The Invasion of The Body Snatchers. Are the designers of copies of the dress to be compared to aliens, hatching their lookalike creations from plant-like pods? Or are there deeper symbolic possibilities. The original film, set in California, was reviewed as a critique of alienation and suppression of human rights under McCarthyism.
And yes, this tale of The Royal Wedding and The Invasion of the Body Snatchers has another curious difference from other stories of the Royal Wedding. I leave these matters for LWD subscribers to mull over. Why not let your imagination loose on them?