April 20th, 2015
A Review of the Exhibition “Fashioning the Body”
by Rachel Kinnard
Double panniers with pockets. France, 1775–80. Photographer: Patricia Canino.
“There is no natural body, but rather a culturally-defined body that reflects the social requirements of the period in which it exists,” Curator Denis Bruna notes in the accompanying exhibition texts to “Fashioning the Body: An Intimate History of the Silhouette.” The exhibition, at the Bard Graduate Center, tells the history of western fashion through the undergarments that provided its foundation. The collection includes such varied items as 400-year-old “Spanish doublet,” corsets for children, and the contemporary push-up bra. During the curatorial tour for the show, Bruna insisted that the exhibition was about “the body–not fashion.” While the exhibition narrates the history of the western body through shaping undergarments, “Fashioning the Body” brilliantly demonstrates how fashion and the body are inextricable from each other. This is an exhibition about the fashion and the body.
Situated in the Bard Graduate Center Gallery’s six-story townhouse, the exhibition spans three floors connected by a spiral staircase. Considering the prudish nature of the items’ original owners, the intimate gallery setting feels appropriate for examining garments that were never meant for public view. The show traveled to New York City from the Musée des Arts décoratifs in Paris. It was originally shown in 2013 under the title “La Mécanique des dessous,” which translates to “The Mechanics of Underwear.”
Displayed on mannequins hidden under black velvet, these shells from past bodies seem to float in mid-air. The exhibition design is perfect, allowing an unusual intimacy between viewer and object. A whalebone stay is displayed at the particular angle which reveals its internal architecture, the side that was once pressed up against its wearer’s flesh. It’s a rare chance to see the complex skeleton of these bodily casings usually seen only from the exterior.
The ancient underpinnings are brought to life through animated reconstructions placed throughout the galleries. Deliberately displayed on white, full body mannequins to differentiate them from historical garments, the mechanized reconstructions serve as ghostly tour guides wearing self-animated clothing. An articulated panier slowly collapses onto the mannequins hips, demonstrating how a woman would flatten her wide silhouette to pass through a narrow doorway or board a carriage. On another reconstruction, a hoop skirt rises from the floor to encase the frozen mannequin’s lower half.
Bridal corset. United States, ca. 1860–70. Photographer: Patricia Canino.
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Posted in Exhibitions, Fashion & Technology, Museums
January 12th, 2015
A Review of “David Bowie Is”
by Jay Ruttenberg
Striped bodysuit for Aladdin Sane tour, 1973. Photo: Masayoshi Sukita. © Sukita / The David Bowie Archive 2012.
“David Bowie Is,” the museum retrospective of the singer that recently concluded its run at the Museum of Contemporary Art in Chicago, featured virtually every artistic medium imaginable. Included works extended to music, film, video, fashion, and, in Bowie’s portraits of his Berlin running buddy Iggy Pop, painting. One display case featured the star’s long-retired cocaine spoon—a redundancy, considering the exhibition’s inclusion of his “Life on Mars?” video.
The show originated at London’s Victoria and Albert Museum and made its sole U.S. stop in Chicago, where it was greeted with the crowds and fanfare of a blockbuster. The outpouring of interest seems sensible: Absent from public performance for nearly a decade, Bowie is pop’s missing man. His mark remains everywhere; he is nowhere. “David Bowie Is,” which was produced with the subject’s cooperation, if not curatorship, made a resounding case for his significance. To view the exhibition’s many rooms detailing his work in the 1970s was to peak into the 1980s. The phlegmatic British vocals that would dominate a corner of ’80s pop and the nervous mutability of music and media that would define Madonna (to say nothing of Gaga) have roots here; arguably, so does Michael Jackson’s cheesy white Thriller suit. In one displayed video, 1979’s “Boys Keep Swinging,” Bowie appears as his own backup singers, garbed in the elaborate gowns and wigs of female drag. What seems shocking about the video, however, is the main image of Bowie ostensibly as himself, clad in the dark suit of a prototypical mid-80s yuppie. It’s this look—which, for the record, predates Bret Easton Ellis’s debut by six years—that appears to be the video’s true act of drag.
A museum show about a pop star inevitably runs into limitations. In an exhibition of a painter, visitors directly confront the subject’s primary source: the painting is the ultimate art. Even for a multidisciplinarian such as Bowie, the true art lies in his records and performances; the stuff inside display cases can seem secondary, if not trivial. But the aim of this exhibit, where headphone-clad visitors roamed as an army of enthralled zombies, was immersion. It was presented with high-minded care and, at least when covering the years that matter, the exhaustiveness of a box set. Over 400 items were on hand: photographs, handwritten lyrics, a monstrous set of keys from the musician’s Berlin apartment, even an old pocket map for the West Berlin subway. There were also more than 60 stage costumes, most fetchingly the pear-like black-and-white jumpsuit that Kansai Yamamoto designed for the Aladdin Sane tour. Even all these years on, we discover new sides to the pop star: Meet Ziggy Stardust, the world’s most glamorous hoarder.
But the exhibition’s showstopper was drawn from nobody’s closet. Rather, it was the famous video of Bowie performing “The Man Who Sold the World” on Saturday Night Live, in the waning days of the 1970s. The video deserved greater prominence at the MCA, if not an entire museum to call its own; it also would have benefited from the other two songs recorded for the episode. Nonetheless, the clip could move mountains. Bowie is accompanied by Klaus Nomi and Joey Arias, vanguard figures from the nocturnal club world, both clad in monochromatic Thierry Mugler dresses. The men carry Bowie to his microphone as if he is a children’s toy. Wearing a cardboard tuxedo that was designed by the singer and Mark Ravitz under the spell of 1920s Dada, Bowie sings with the bemused detachment of a Martian. Space alien analogies always fit Bowie—after all, we are talking about the Man Who Fell to Earth—but they seem particularly apt for the SNL appearance. At the taping, he was newly returned from self-imposed exile in West Berlin, introducing irrefutably avant-garde notions to a mainstream arena. (Not for nothing did Kurt Cobain cover this song in Nirvana’s MTV Unplugged set.) The ’80s—which thwarted the world’s rock stars where no drug or label chicanery ever could—were mere days away. Bowie seemed intent on ending his decade of dominance in spectacular style. The appearance is not an act of subversion so much as it is a sterling media performance—pop as art and back again.
Jay Ruttenberg is editor of The Lowbrow Reader and of its book, The Lowbrow Reader Reader. He has written for The New York Times, The Boston Globe, and other publications.
Album cover shoot for Aladdin Sane, 1973. Photo: Brian Duffy. © Duffy Archive & The David Bowie Archive.
Posted in Exhibitions, Film, Museums, Performance
September 20th, 2014
Off the Runway: Print as Performance in Contemporary Fashion
Marin Margiela SS1990 Show photographed by Bill Cunningham for Details
Coming up on Friday, September 26th, I will be speaking together with K8 Hardy and Susan Cianciolo on a panel about art, fashion and independent publishing at the New York Art Book Fair taking place at MoMa PS1. The panel runs from 12:30 to 2:00pm. The talk is organized by James Mitchell and Susan E. Thomas, who will moderate.
Below is the full description:
“The fashion industry has long used publications as a means of marketing, typically in glossy magazines and coffee table books. Throughout the 20th century these print forms embodied complicated relationships among artists and designers, the fashion industry, and publishers. The punk wave of the 70s and the later rise of lifestyle magazines like The Face, i-d, and Paper Magazine marked a shift from presenting fashion for the affluent to promoting the anti-fashion of youth subcultures. By the end of the century, new serial publications like Visionaire and Purple had dispensed with any obligation to present fashion, per se. They adopted the techniques of artists’ books and zines to make print objects that investigated fashion subjects. At the same time, individual fashion designers and artists produced print publications and worked as guest editors or art directors for magazines. Other book artists have parodied the fashion industry. This session explores the intersection of art, fashion design, and independent publishing.”
Posted in Designers, Lectures, Performance, Publications
July 25th, 2014
New Journal: International Journal of Fashion Studies
The first issue of the International Journal of Fashion Studies was recently published. Edited by Emanuela Mora (Università Cattolica di Milano), Agnès Rocamora
(London College of Fashion) and Paolo Volonté (Politecnico di Milano), it presents an innovative publishing model, by allowing articles to be submitted and peer-reviewed in a number of languages besides English. This approach acknowledges the scope and geographical breadth of the field and allows for a greater range of scholarship to be widely read, as the accepted articles are translated and published in English—which has become (for better or worse) the lingua franca of academia.
The first issue presents a diversity of approaches fully aware of the complexity and multi-disciplinarity of fashion studies. A few years back, I wrote an article on the topic for Fashion Theory, and thus found the introduction co-written by Mora, Rocamora and Volonté particularly interesting and an important addition to these discussions. Among other topics, the introduction makes evident the anglo-phone bias of the field (not unlike most academic fields) and calls for a post-colonial fashion studies.
The issue is a beginning toward the fulfillment of that wish with a number of contributions from Latin America alongside those from the U.K., Finland, the U.S., France and New Zealand.
To find out more, you can read the first issue, free of charge, on the Intellect site
Posted in General, Publications, Research/University Programmes
March 1st, 2014
Fashion Projects # 4 on Fashion Criticism — Out Now!
We are thrilled to announce the publication of Fashion Projects #4, available for purchase here and in specialized newsstands and bookstores.
This issue is devoted entirely to the subject of fashion criticism—the first such study devoted to the cultural field. It features extended interviews with leading practitioners of fashion criticism including W editor Stefano Tonchi, International Herald Tribune critic Suzy Menkes, The New Yorker’s Judith Thurman, New York Times writer Guy Trebay, and Robin Givhan, the first fashion critic to receive a Pulitzer Prize.
Table of Contents
Transdisciplinary Practices: An Interview with Stefano Tonchi
by Francesca Granata
Fashion Criticism—A Critical View: An Interview with Robin Givhan
by Michelle Labrague
This Is Not a Fashion Critic: An Interview with Guy Trebay
by Jay Ruttenberg
“Women’s Work”: An Interview with Judith Thurman
by Francesca Granata
Bill Cunningham Multimedia Man
by Jay Ruttenberg
Fashion Criticism as Political Critique: An Interview with Lynn Yaeger
by Sarah Scaturro
The Critic as Artist: An Interview with Mariuccia Casadio
by Marco Pecorari
On Fashion Futures: An Interview with Suzy Menkes
by Lucy Collins
Posted in Issue #4, Publications
February 24th, 2014
The young and inspiring fashion scholar Monica Sklar recently completed her first book. Titled Punk Style, it takes a wide look at the punk movement, following the 40-year subculture through its various manifestations beyond its 1970s origins. Fashion Projects discussed the book with Dr. Sklar.
What inspired you to write on this topic?
I started high school in the fall of 1991, a year often referred to as “the year punk broke.” Although punk predated this by over 15 years and had seen crossover success before it reached a new level in this era. The underground and mainstream were blurring in music, fashion, and ideas. This grabbed me and impacted how I would shape my adolescence and adulthood. My career paths always related to this intersection and as I went on to become an academic I wanted to explore it in depth, particularly the fashion and its meanings.
The music and fashion of punk have always developed simultaneously and in conjunction as part of an overall lifestyle developed by communities of individuals who think along the same lines. However the body of literature mostly covers the music and its personalities with fashion as an afterthought, or sometimes, the fashion as trend and not “important.” Also much of the literature isn’t thorough or is out of date. I wanted to fill some of those voids.
It turned out to be complicated to study because punk style has simultaneously maintained some of its relevance and original subcultural intent, it has also developed mainstream appeal and cache. This begs the question whether dressing punk means a person is punk, and/or, whether a person can be punk without dressing punk. Further muddying the waters is that punk is an esoteric and amorphous concept that is not easy to define and not all of those who self-identify as punk share the same perspectives. Through its 40 year history and various incarnations, as well as through personal experiences of the participants there are many ideas about what punk is and that made it fascinating to dive into.
Another reason I wanted to study it was to give the research the energy and perspective I felt it deserved. As someone who self-identifies with the punk subculture, I felt my voice positively affected how the interviewees for this research addressed me and it was reflected in my ability to understand the language and symbolism as well as know the background to add context. I wanted to then pass this hopefully thorough approach to readers who are not familiar with the subject and also to have accesses to the scene in ways an outsider academic might not have. I worked hard to step back and holistically unite ideas to answer the research questions as a scholar of dress, design, and social theory.
How your view of it changed from when you first approached it to the end of your research?
Since it is something I feel personally connected to and have my own experiences with I wouldn’t say I had great changes of mind over the years of research, however I did learn things in more depth and explored some ideas that were new to me.
It was interesting to learn about the differing perspectives of the UK (and some other global regions)and the US. The UK has the idea that commitment to punk means fully dressing the part and highlighting one’s efforts. The US has the idea that commitment means it is no ingrained it’s natural and should appear effortless and more subtle or coded. Also since the UK apparel was (mostly) initiated by artists and fashion designers it is more flamboyant than the US which was initiated by musicians and street kids.
The most important thing I learned is about how punk style is embedded in the wearer’s perspective. The wearer dictates that something is punk, less so than the viewer defines them. This relates to another thing I really took away from the research about how individuals grow with the style and transform it with age. Since it’s a 40 year subculture I was able to research people at different points of life and I could see how it is not only a passion of youth. Punk style morphs with age and lifestyle changes and many people have developed ways to incorporate it into their maturation. However for some that means the visuals become less relevant as they enact the ideas they were trying to get across visually in other aspects of their lives such as jobs and manner in which they maintain a household and family. This validated that the style is symbolic of a larger lifestyle choice, and not a passing fancy. Some I researched felt the cliché notion that punk died whenever their version of it moved on (or they got older), however often those same people will explain how the lifestyle they now lead is related to the way they dressed in the past. Also something about punk is so flexible and accessible that new generations keep picking it up and making it their own and feel valid in their interpretation.
Monica Sklar has a Ph.D. in Design-Apparel Studies from the University of Minnesota, focused on Socio-cultural and behavioral aspects of dress; 20th/21st century design history, theory, and criticism; aesthetics, innovation & creativity; retailing and consumers,
with Supporting Areas of Study including: Social movements, subculture, popular music, deviance, and visual culture.
She has taught numerous college level courses in dress and retailing, worked in art and design museums/galleries in multiple capacities, done many projects in fashion and art journalism and wardrobe styling, and worked on endless retail floors
Posted in Publications, Research/University Programmes
September 9th, 2013
An Interview with Margaret Maynard
by Nadia Buick
Cover of Margaret Maynard’s Out of Line: Australian Women and Style.
Associate Professor Margaret Maynard is one of Australia’s most respected dress historians. She has published widely in the field and taught for decades at The University of Queensland (UQ) at a time when dress and fashion subjects were few and far between. She continues to hold an Honorary Research Consultant position at UQ in the School of English, Media Studies and Art History. Maynard has contributed greatly to publishing on Australian dress and fashion. Her book Fashioned from Penury re-evaluated Colonial dress in Australia, debunked previously persuasive myths about the impact of the British Empire, class and gender while arguing for institutional acquisition of everyday clothing rather than ‘high fashion.’ In Dress and Globalisation she was one of the first to discuss clothing and sustainability and cross-cultural dressing practices. She also edited the Australia, New Zealand and the Pacific Islands volume of the Berg Encyclopaedia of World Dress and Fashion.
Margaret Maynard and I are both based in Brisbane (arguably quite far removed from the ‘centres’ of fashion) and I have been fortunate to work with her on a project about fashion in Queensland called The Fashion Archives. We spend a lot of time chatting via email and I recently took the time to ask her these questions…
You are a dress historian whose work has also occasionally examined fashion. What is your working definition for these terms?
Fashion for me is the highly volatile aspect of attire and behaviour—the latest look and comportment at any one time. It is a transformative concept or social ideal (not necessarily just reflective). Shaping and reshaping the body, it is an active and material demonstration of change, the nature of its visibility inextricable from social and cultural experiences. The other point is that fashion is inseparable from the industry in which it is made and more recently the commercialisation of its marketing and promotion.
For me fashion is a form of dress, so the term dress encompasses all attire, irrespective of economic factors or class. My view is that one can’t fully understand the workings and nature of fashion unless one takes into account wider processes of dressing. In fashion photography, for instance, one should bear in mind technical processes and the whole marketing structure of the industry. It has been said that fashion is where ‘costume’ and ‘dress’ converge but I don’t think that fashion should be thought of in this way. There are also degrees of fashionability dependent on class and economic circumstances as well as aspirations to look stylish.
Is ‘dress studies’ no longer fashionable?
Yes, I agree that ‘dress studies’ has the lower rating at the present time. Fashion studies today have cachet largely because they have become almost professionalised by the academy and the obsession with dense kinds of theory has lent to a sense of superiority amongst some practitioners. There are also convenient links to contemporary interests in design and lifestyle. And there is no doubt fashion benefits from its association with visual pleasure, aesthetics and artistic creativity.
Dress studies on the other hand seem intellectually less demanding and its subjects can give an impression of being mundane even drab. It is often downgraded as mere social or working-class history compared to fashion. It is interesting that second-hand dress rates more highly perhaps due to its association with self presentation as a creative form. The media loves fashion as allegedly newsworthy, with its links to the latest upmarket designs. Thus most newspapers have columns on ‘fashion’ where they seldom have on dress. The term ‘costume’ used to have the same low standing but somewhat upgraded now it has become the accepted term for theatrical performance attire.
Many theorists and critics interested in dress and/or fashion have observed the field’s relationship to women and femininity, and suggested that this close link is the reason that dress and fashion studies have often been overlooked. Have you also found this to be true? Do you think this is something that continues to happen?
I think that the association of dress/fashion with women’s interests was prevalent until the later 20th century. Historically fashion has been associated with vanity and folly, thus contributing to the perception it is not a serious study. The topic has been disparaged, written about defensively and considered frivolous. But this has certainly not been the case in the last decade or so. In academic circles the subject is flourishing. Publishers like Bloomsbury have catalogues saturated with books on the topic. This said exhibitions of women’s fashions are huge drawcards, suggesting women are still objects of desire as opposed to subjects of analysis. Countering this are the many women who have in recent times written seminal studies on the complexities inherent in dress/fashion and forged new pathways for the study
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Posted in Interviews, Publications, Research/University Programmes, Sustainable Fashion
July 2nd, 2013
A Review of “Silks and Prints from the Abraham Archive – Couture in Colour” at MOMU
by Philip Warkander
Hubert de Givenchy, Winter 1971/72. Photo: Gian Paolo Barbieri. Gazar Brodé Chenille, Winter 1971/72. Silk and entamine, shantung appliqué. Abraham Archive.
In1982, sociologist Howard S. Becker published the book Art Worlds, in which he argued that art is not the production of single individuals – artists – but rather the result of a number of interactions among people and materials, together constituting the contexts in which art works can be defined as such. According to Becker, art is not the result of one person’s work, but is a value constructed according to specific settings, or art worlds. This perspective has become hugely influential in art theory while also having an impact in fashion studies, most notably through sociologist Yunyia Kawamura’s Fashion-ology: An introduction to Fashion Studies (2004). Explaining how fashion comes into being, Kawamura aligns herself with Becker by claiming that fashion should not be understood as the product of designers working in creative isolation in their studios, but instead as the effect of an entire system of interactions, based on the negotiations between designers, stylists, magazine editors, PR consultants, retailers as well as a number of other actors.
Currently on view at the Fashion Museum in Antwerp is an exhibition exploring the effects of this theoretical perspective on the textiles, prints and fabrics manufactured by the Swiss company Abraham Ltd. The exhibition was originally produced by the Swiss National Museum in Zurich, but the Antwerp version (in the museum’s own words) “recaptures and expands” the original version. Placing the materiality of the fabrics and the print designs at the center of the exhibition, the process of producing prints is explained in detail, not only making for a pedagogical but also for an aesthetically advanced display. For example, the exhibition shows how a rose pattern, which was one of the company’s trademark prints, required nine stencils to print nine colors in nine separate print runs. The fabrics produced by Abraham Ltd. were so intricate that they became – due to the high cost of production – often reserved for haute couture, thus establishing intimate interconnections between the Swiss company and French couture houses such as Dior, Balenciaga, Givenchy and Yves Saint Laurent. As a result, Abraham Ltd. became one of the key players in the high fashion industry of the twentieth century, their patterns and textiles shaping much of what is otherwise generally assumed to have been designed within the couture houses.
Installation with 20 Abraham scrapbooks, 2010. Abraham Archive
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Posted in Designers, Exhibitions, Fashion & Technology, Museums, Textiles
June 13th, 2013
Review of Fetishism in Fashion, MOBA 2013
by Philip Warkander
“We are born in bondage, a cord wrapped around our baby body”, curator Lidewij Edelkoort stated in her introductory speech to this year’s Mode Biënnale in Arnhem, Fetishism in Fashion, open June 9 through July 21. During an interview, she tells me that the starting point of the exhibition is the trauma a child experiences after birth when it is separated from its mother through the cutting of the umbilical cord, resulting in a lifelong search after new unities to be part of. According to Edelkoort, this feeling of lack explains the charm bracelets around our wrists and crucifixes around our necks; magical substitutes for the physical connection between mother and child that was lost at birth. For the biënnale, Edelkoort has chosen 13 different perspectives on the theme of fetishes, presented in separate rooms along long corridors, ranging from patriotism to sado-masochism, the common denominator defined as attempts to reconnect and retrace what was lost at birth, to find meaning in matter.
Philosopher Sara Danius has claimed that when fashion evolved into a modern industry in the nineteenth century, fashion objects took the place of religious artifacts and became the new fetishes of the emerging consumer society. At the Arnhem biënnale, this is made especially evident in the rooms devoted to spirituality and shamanism, but also in the room devoted to high-speed consumption, labeled “consumerism”. Designers such as Written Afterwards (Japan), Luke Brooks (UK) and Kosuke Tsumura (Japan) have integrated a critique of fast fashion into their design, creating outfits out of worn-out shoes, plastic flowers and disposable waste products. On the theme of “infantilism”, designer objects are mixed with large plastic pacifiers and milk bottles found through online fetish sites, creating interesting hybrid expressions of fashion, innocence and pornography, in pastel colors but with a dark edge. According to a text in this room, this demonstrates how “the choice of baby clothes, diapers and coddling textiles expresses a need for being cared for and a wish to never grow up [...]”.
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Posted in Designers, Exhibitions, Interviews
May 9th, 2013
A Review of “Punk: Chaos to Couture”
by Jay Ruttenberg
Gallery View, D.I.Y.: Hardware
Punk fashion, in its purest form, is a gawky Jew from Queens, resplendent in old jeans, snug shirt, long hair, and a chintzy black leather jacket that, depending on the viewer’s perspective, either masks or accentuates the wearer’s geekiness. Anything beyond this uniform—the safety pins, studs, or those storied Mohawks—has always seemed an affront to the music’s minimalism. Worse, it is cheesy.
Or maybe not. Whereas in New York, punk was a witty music and art movement, in London, it quickly became a deathly serious fashion and media one. The Ramones gave their first concerts at a 23rd Street loft and a not-yet-famous Bowery dive bar; the Sex Pistols began their stage life at Central Saint Martins College, the London fashion hub. Hence, despite existing in the city that both birthed and perfected punk, the Metropolitan Museum of Art’s “Punk: Chaos to Couture” exhibition feels much more a piece of London than of New York. This is probably for the best: London punk never offered a rival to Joey Ramone’s pop persona or Tom Verlaine’s musicality—but then, New York did not produce image svengalis in league with Malcolm McLaren and Vivienne Westwood.
Refreshingly, the Costume Institute’s exhibition, curated by Andrew Bolton, devotes itself almost wholeheartedly to the fashion inspired by punk, predominantly womenswear made in the music’s wake. It never attempts comprehensiveness and avoids Hard Rock Café-isms. (Best to ignore the show’s biggest misstep: a dead-on-arrival, by-now-obligatory recreation of CBGB’s bathroom.) Excepting a room devoted to Westwood’s work—the sloganeering t-shirts of old circling the fancier items that followed—most pieces are from designers not typically associated with punk rock: Karl Lagerfeld, Miuccia Prada, Martin Margiela, Alexander McQueen…. Those punk aesthetes kvetching that the mere existence of this show somehow contradicts the music’s mission are missing the point (or, more likely, confusing the exhibition with Anna Wintour’s tone-deaf party). “Chaos to Couture” seeks to celebrate, not dabble in, cultural tourism. It is not about punk, but about fashion’s belated response to punk.
Gallery View, D.I.Y.: Graffiti & Agitprop
Rooms are divided by influence and material. “D.I.Y.: Hardware” represents the sordid mark of S&M, with gratuitous zippers, ominous padlocks, and other metals—bondage gear for the wealthy, basically. A snippet of the New York Dolls’s “Trash” spins in “D.I.Y.: Bricolage,” a room devoted to customization and recycled materials (i.e., a Margiela ensemble featuring foil and metal staples). The exhibition concludes with “D.I.Y.: Graffiti and Agitpop,” with the Clash as muse, and “D.I.Y.: Destroy,” which is inspired by Johnny Rotten and his awing collection of shredded grandma sweaters. For a viewer such as myself, far more schooled in songs than in garments, exploring how the genre eventually trickled into high fashion is eye-opening. In music, the best punk-influenced bands have always been those that channel elements of the genre into unexpected sounds (say, Beat Happening) rather than those producing mere facsimile. Ditto the more interesting clothing: McQueen’s skull and crossbones or a hokey Elvira get-up from Versace seem rote compared to, say, Moschino’s skirt of white plastic shopping bags, whose playfulness might have been appreciated by X-Ray Spex. A series of puffy cream Comme des Garçons dresses, at the show’s finale, reference the layers favored by punk kids only upon a second or third glance. The effect is striking.
As exemplified by that CB’s bathroom—and will some brave soul please take the Met’s bait and use the toilet?—the exhibition stumbles as it gets cute and veers away from fashion. The museum’s decision to identify famed designers laboring under multinational corporations as “D.I.Y.” is laughable. At times, the exhibition tries too hard to create a punkish aura—the “Graffiti and Agitpop” room resembles the menacing punk rock of a Hollywood backlot. And while it is impossible to be discontent while hearing “Blank Generation,” particularly along Fifth Avenue, the inclusion of background music diminishes the clothing it sets out to contextualize.
How this exhibition is received by New Yorkers remains to be seen. The show has yet to open, and already it has given us the cringe-worthy spectacle of insecure celebrities struggling to add hints of leather or metal to their wardrobes in order to qualify as “punk” for the Costume Gala. Perhaps such behavior flies in London; in New York…yeesh! It’s embarrassing just to think about it. For Chrissake, a punk wears what a punk wears.
A recovering rock critic, Jay Ruttenberg is editor of The Lowbrow Reader and its book, The Lowbrow Reader Reader. His work has appeared in The New York Times, Spin, and Details.
Posted in Exhibitions, Museums, Performance
About Fashion Projects
Fashion Projects began in New York in 2004, with the aim to create a platform to highlight the importance of fashion — especially “experimental” fashion — within current critical discourses. Through interviews with a range of artists, designers, writers and curators, as well as through other planned projects and exhibits, we hope to foster a dialogue between theory and practice across disciplines.
We are primarily a print journal, however we also publish web-based updates and interviews (a “digest” version of which you can receive by signing up to our mailing list or via our RSS feed
) and are currently working on exhibits based on past and future issues. To order any of our issues visit our ordering page
We are a nonprofit organization, which has previously received grants from the Lower Manhattan Cultural Council and the New York City Department of Cultural Affairs.
We are currently a sponsored project by the New York Foundation of the Arts
, a 501(c)(3), tax-exempt organization. Contributions on behalf of Fashion Projects can be made payable to the “New York Foundation of the Arts,” and are tax-deductible to the extent allowed by the law. For more information please don’t hesitate to contact us.
For editorial inquiries please email francesca
For advertising and all other matters please email erin
Fashion Projects is distributed in the U.S. and Canada through Ubiquity Distributors (tel. 718-875-5491, info [at] ubiquitymags.com
) and in Japan through Presspop Inc. (info [at] presspop.com
). It can be found in independent bookstores, Universal News, and other magazines stands across North American and in select stores in Japan and Europe. You can also order it on our site via paypal.