THE POLEMIC
Shalom Harlow and Angela Lindvall for Yohji Yamamoto Spring 1999
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Editor’s Letter : Prolegomenon ly is fed into us from within. Neon was thought to be tacky until Kim said it was ok to wear it again.
Our choice of fashion is predetermined by the industry, influencers, mass media and celebrities. The reason you dress the way you do, is because we are constantly confronted with nudging images on instagram, snapchat and tiktok. They imply what we should look like. Everything we wear is a manifestation of the foreign ideas that we attempt to claim ownership of.
These are some questions that this issue will aim to explore. It is hard to give a well rounded and clear answer to any of them as the matter discussed is so subjective in its nature. The goal of this issue is to inform YOU about the choices we make, because even if you don’t think so much about what you wear, that in itself is also a choice.
Are our styles manipulated by the people who control the industry from the day we gain consciousness of the way we look and dress? Is the phenomenon of personal style an illusion disguised by the limited choices we are able to make when deciding what to wear? Our thoughts and values, are they simply hand picked by us from a larger pool of these pieces? Has everything already been pre-selected for us?
I don’t want to change you or your style, I can respect your way of expression, my goal here is to expand your scope of thinking in regard to the conscious and unconscious decisions you and I make. They all matter. The areas that leave a bold impression in the subject matter are as follows, you can see these as chapters:
I really hope that the decisions we make are not yet settled, and we are not just following instructions.
1) Metaphysics of Fashion 2) Psychoanalysis a. Imaginary b. Symbolic c. Real 3) Clothes as a Secondary Body 4) On Self Expression 5) Adherence and Entourage 6) Sources
Well… To what extent can the subjectivity in regard to garments be manipulated with the romanticised idea of something? Values are not something we’re born with, but rather it is the element that is so excellently branded and advertised to us these days, anything can be sold if people can fall in love with the idea of it. Where our admiration doesn’t stem from somewhere inside but converse-
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Lead-In Identity, Association and Realisation The Soul and its Desire to be Expressed 26th of May 2020 14:19 CEST
Self realisation though style has prevailed in our society since the 18th century. But to what extent is it the manifestation of ones true nature and identity? Could it be a mere eclectic and recollection of ideas of others, deconstructed and interpreted through the prism of perspective? Are the biker shorts you’re wearing a reflection of your intrinsic spirit or is it something you saw a Kardashian wear. So you feel the need to sexualise your body in attempt to increase your self worth. If you are not sure, join our philosophical discourse.
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Alexander McQueen for Givency, Cyborgs Autumn 1999 LED circuits encompassed within a plastic mould, the epitome of a science fiction prophecy. “A ghost in the shell” The armoured configuration of electrical circuits encloses the spirit and creates a cyborg body. The two are inseparable as they symbiotically enrich eachother’s existence.
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Metaphysics of Fashion What does it mean to have the possibility to dress oneself by focusing on the metaphysics of clothing? It argues that every article of clothing satisfies both biological necessities and cultural urgencies (Coccia, 2016). It raises the question of distinguishing yourself from others, while it can be manifested through an image this issue in itself is very sensible. It could be a mere feeling that the garment gives you, allowing you to feel unique and profound.
change anything from an extra-sepcifc detail in ones life to politics, religion etc. Coming in many imaginable and unimaginable forms. Occasionally to a lesser extent, style is art. Art is always changing, and so are we (Adajian, 2007), and so does style. Clothing transforms our anatomical body into a medium (Coccia, 2016). Wether you make this decision consciously or subconsciously there is a cause and consequence to it. Even choosing to not put that much potential into your image is a choice (Kale, 2019). The image is the origin of the entire personality of the individual. It argues that the basis of recognising (or misrecognising) oneself in the sensible idea (created look), of identifying with it, of exchanging oneself for it (Coccia, 2016), in itself is the manifestation of a persona, or the creation of it . Through the form of decision making, correlating to our own appearance and identity. In reference to images, they can be explored as the expression of ideas that an individual can relate or dissociate with, support or protest.
Why is it relevant for us today to explore the metaphysics of Fashion? Because fashion in its entity is the relationship between mind (ideas) and matter (embodiment, physicality of clothing); substance (materiality) and attribute (thought provoking and suggestive). The contrast of potentiality (digital fashion, new ideals to a certain extent) and actuality (the real world). Exploring the philosophy and thought is crucial in understanding our human nature and analysing how we interact with the world. Fashion is art, for the same reasons, it is balance of mind and matter. It is art because of its prevalence as the poetry of the spirit at a given time (Kant), fashion is the zeitgeist. Both aim to be the means of representing the objective world. Art is a necessary mean of salvation, something that is so controversial that it cannot be described (Adajian, 2007). Art can be seen as a revelation of individualism as it often relies on interpretation of the individual, it promotes the cultivation of the mental powers for communication. It is a reaction and it is a request, it is the necessary form of expression that can
An important aspect of relatability (with respect to subcultures, groups and communities, that also from an identity) is extent. We are constantly under the influence of many art forms, but some individuals are more impressionable than others. Establishing connections and relations with images and other individuals is part of human nature. The sense of belonging needs to be proportionate
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image (Coccia, 2016). We become what one sees, through a series of processing and deconstructing. To a certain extent nothing is really ours. The living does nothing but reproduce itself in a thousand shapes and fashions (Coccia, 2016). The image is actualised by this infinite reproduction, which in turn creates diversity and existence.
to the sense of individuality. More recently the desire to a start a brand (especially through instagram) has lead to over-saturation in the field. Where everyone is so unique that it becomes abundant. An excellent example of following a particular frame of actions (which has been the same) to achieve personal objectives. This is the inner conflict of a contemporary, there is a longing for closure (and association with a particular field) paired with the inexhaustible desire to be unique and therefore an individual.
“All cells come from pre-existing cells� (Hooke, 1665) but look how diverse life is. Creation is always a combination of the pre-existing (inner) beliefs and the consumed (imposed) ideas. Everything can multiply, exist beyond its substrate, become infinitely appropriable and produce effects and impressions (Coccia, 2016). But the power of this effect or this impression is determined by the individual. The ratio of one to the other needs to support the idea in order to yield the power and communicate the idea in a comprehensible way.
Individualism is thorough in examining human nature, it creates this believed abstraction that everyone is fundamentally different. However due to human nature we are often drawn to the same beliefs and customs that could limit us in reaching our illumined potential. Accessibility of knowledge can be a limiting factor in expression. Some individuals can manifest their ideas much more effectively than others, creating the paradox of the creators and the consumers. The fundamental difference lies in their animus, one being more characterised by an intrinsic drive (an afflatus) and the other by stimulation and recreation. Both rely on each other to coexist.
Comprehension and interpretation is what fashion comes down to, miscommunication is often the cause of many conflicts. Diversity in this case is the reason of misunderstanding and inability to translate one’s vision to the other.
The consumers and creators intersect in one fundamental area - inspiration. One can never be a true creator nor a true consumer, they are different in the extent to which they are able to change information. Inspiration can be observed as s from of mimicking, copying, reflecting and imitating an
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“Clothing transforms our anatomical body into a medium�
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Jane Fonda as Barbarella, shot by David Hurn 1968
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Imaginary
Johanna Jaskowska for The Fabricant Digital Blockchain Dress “Iridescence” 2019
The imaginary is anything one can produce and cultivate in their consciousness. Regrading personal style it is the aspect most closely related to self awareness. It deals with the core analytic ideas like transference (of ideas into physical manifestations), fantasy (dreams and aspirations), and the ego (self realisation and reflection of the image of the individual and his being). Although the imaginary often resides in the realm of fantasies and can be seen as ‘unreal’ these images have very concrete effects upon the actual, as our style still relies on the intrinsic drive.
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Symbolic
Debra Shaw for Alexander McQueen La Poupee Spring 1997
This aspect is more structured in comparison to the imaginary, it deals more with customs, institutions, laws, norms, practices, rituals, rules and traditions. It can be seen as the ‘limit’ of the imaginary, you may want to express yourself in one way through personal style but there will be limitations imposed by law or other regulatory institutions that will prevent you from doing so, both consciously and subconsciously. The symbolic also allows us to make sense of the imaginary, drawing links between personal expression of ideas and reactions. Allows us to create allusions and connections that can be interpreted on a communal level, general understanding.
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Real
Model Akiko for Paco Robanne, shot by David Montgomery 1966
It is hard to pin down exactly what is real. It is the sphere where a sequence of imaginary-symbolic signs become comprehensibly meaningful. It gains conscious apprehension and communicable significance. It can often be used to refer to material beings, it is the most accessible of the bunch. It is the most susceptible to the direct experiences, on a personal level we can touch, feel, see the real, allowing us to establish connections with it. It is almost the reverse process of the imaginary.
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“SHUT UP AND DRIVE” Calandre by Paco Robanne, campaign 1969
Christian Carol Poell Pig Bag, 2009
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Clothes as a Secondary Body If we approach the concept of clothes as a secondary body we can uncover a lot of aspects of our nature. Most people’s approach to their clothing is profoundly different, but regardless of wether you put a lot of thoughts into it or none at all, it is a reflection of our psyche that cannot be ignored. If our anatomical body can be regarded as a temple of soul and physically reflects our life choices doing so through movement and actions. The clothing body is what we want to say or refer to without words, it is a reflection of our beliefs and values. Both are a reflection of the conscious and subconscious, but the anatomical is more raw and organic while the fashion body is more metaphysical and subtle. Apart from that we also often find it necessary to hide our natural motifs or inclinations with a secondary body, it can be used a powerful tool for self defence and consolidation. But conversely we can also use fashion to appear more vulnerable. Fashion is a lot more versatile in the spectrum of images it can communicate. It can sometimes be as carnal as our physical body, moreover it can be used in tandem with our physicality. Fashion wouldn’t exists without the body. However it has the potential of becoming one, maybe to a certain extent it will never reach the complexity of our frame but it can translate certain opinions in a much more appropriate and comprehensible way, without words. Additionally leaving room for interpretation. The primal function of clothes was to fulfil biological necessities, such as thermal regulation. But as we developed it became a necessary means to cover nudity (suppression of naturalw instincts), and it quickly evolved into an aspect that could be definitive of an individual, that could otherwise tell the story of ones needs and aspiration. It asked fundamental questions such as
what do you choose to show and what do you choose to hide? It is a small take on behaviour as a means combining and revealing desires and motivations. It allowed the human to distinguish himself as different, an opportunity to prove it through fashion. We always have something to say, with a closer analysis, clothing can reflect or aim to reflect status, intelligence, age, motif etc. This is where we meet the ‘sine qua non’ of fashion, the difference between being something and aspiring to be something. When are you a part of something and when are you a mere follower. This the issue of deception of clothing and how people aim to become an image that fascinates them, often by forgetting who THEY are. There is difference between people that wear their ‘reaction’ to certain events and people who are the event. It can be widely observed that advertising mainly caters to those who observe and absorb ideas. However it goes without saying that the world isn’t dichotomous, and it would appear that individuals often have both traits, but the ratio is what determines their nature. How can we judge wether an individual is authentically themself? It comes with a degree of honesty, but I have my doubts regarding it, I don’t think there is a person who can reveal all of his truest natural intentions, we’re too oppressed by morals, laws and other rules that prevent us from connecting with our truest organic motivations.
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Carol Christian Poell autumn / winter 1999 “ Trilogy of Monotypologies” The rigidness and the construction of the blazer creates restriction in movement. It’s not meant to comfort the soul at first, it translates the idea of adaptability and conversion with time. Our own mind can prevent us from being who we are. It blocks and weighs us down. We are confined to it. To surpass this obstacle one needs to have confidence in their pursuit. This doesn’t come with ease, so we allow others to force feed and shove their ideas down our throats. But it doesn’t always feel bad.
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On Self Expression 5 7 5
I want to say this Words can’t describe my despair I’ll try another fashion
Carolyn Murphy for Gucci by Tom Ford Fall 1996
If I wear this dress Do I become something else Or am I the same ?
Carnal catharsis My body - my medium My thoughts - my drive
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Adherence and Entourage 1: When is something yours? 2: When I take control of it 1: Can we share for now?
My clothes define me They’re not for you to fathom Stop looking at me
I feel so inspired I ‘ll mimick the entire look But make it my ‘own’
Paco Robanne Spring-Summer Couture shot by Etienne Tordoir 1996
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Model Suspended in Human Installation, shot by Louise Damgaard for Iris van Herpen Autum 2014
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“Fashion wouldn’t exist without the body”
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Bibliography Harvard Style In text references: Adajian, T., 2007. The Definition Of Art (Stanford Encyclopedia Of Philosophy). [online] Stanford Encyclopedia of Philosophy. Available at: <https://plato.stanford.edu/entries/ art-definition/> Coccia, E., 2016. Sensible Life. Fordham University Press. Referenced chapters: 19, 20, 25, 26, 27, 28, 30, 32 Johnston, A., 2013. Jacques Lacan. [online] Stanford Encyclopedia of Philosophy. Available at: <https://plato.stanford.edu/entries/lacan/> [Accessed 26 May 2020]. Kale, S., 2019. â&#x20AC;&#x2DC;They Can Sell Anythingâ&#x20AC;&#x2122;: How The Kardashians Changed Fashion. [online] The Guardian. Available at: <https:// www.theguardian.com/fashion/2019/jan/28/ they-can-sell-anything-how-the-kardashianschanged-fashion> [Accessed 26 May 2020].
line] Tcf.ua.edu. Available at: <https://www. tcf.ua.edu/Classes/Jbutler/T340/SurManifesto/ ManifestoOfSurrealism.htm> Cobos, G., 2019. #DESIGNERBIO Carol Christian Poell & His Grotesque Techniques. [online] Le Petit Archive. Available at: <http://www. lepetitarchive.com/designerbio-carol-chrisitan-poell-his-grotesque-techniques/> Chapman, N., 2014. SHUT UP AND DRIVE: CALANDRE By PACO RABANNE (1969). [online] The Black Narcissus. Available at: <https:// theblacknarcissus.com/2014/01/22/shut-upand-drive-calandre-by-paco-rabanne-1969/> Hatfield, G. and Kant, I., 1997. Prolegomena To Any Future Metaphysics. Cambridge: Cambridge University Press. Waters, J., 2015. The Ultimate Sci-Fi Fashion Moments. [online] Dazed. Available at: <https://www.dazeddigital.com/fashion/article/24871/1/the-ultimate-sci-fi-fashion-moments>
Background research: Ashford, J., 2020. 52 Ideas That Changed The World - 48. Fashion. [online] The Week UK. Available at: <https://www.theweek.co.uk/52ideas-that-changed-the-world/107055/fashion-history-culture> Ashford, J., 2019. 52 Ideas That Changed The World: 27. Individualism. [online] The Week UK. Available at: <https://www.theweek.co.uk/52-ideas-that-changed-theworld/104867/52-ideas-that-changed-theworld-27-individualism> Breton, A., 1999. Manifesto Of Surrealism. [on-
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Colette Pechekhonova for Paco Rabanne Spring 1996 The inexhaustible curiosity of what the future holds ties in closely with our self representation. One can only imagine what they will look, eat, dress, act like tomorrow. This often results in unrealistic expectations and portrayals, inconceivable at given circumstances. We all rely on the occasion when we surpass our expectations, which is so rare but so in demand.
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By Vasilisa Ikryannikova 115i