Experimental Fashion Lecture at the Somerset House, London, April 6th

  Fig. 12 Merce Cunningham, Scenario, BAM, Brooklyn, 1997, photograph by Dan rest. Courtesy of Louie Fleck at the BAM Hamm Archives

Fig. 12 Merce Cunningham, Scenario, BAM, Brooklyn, 1997, photograph by Dan rest. Courtesy of Louie Fleck at the BAM Hamm Archives

by Francesca Granata

I will be giving a lecture on my book "Experimental Fashion: Performance Art, Carnival and the Grotesque Body" April 6th at the Somerset House in London organized in partnership with the Fashion Research Network.

I am particularly excited to discuss the work of Rei Kawakubo, whose exhibition at the Metropolitan Museum of Art is forthcoming. Most of my research on Kawakubo's work was, in fact, conducted at the Met's Costume Institute while I was there as a Polaire Weissman Research Fellow. Equally exciting was to research Kawakubo's collaboration with Merce Cunningham for Scenario at the Cunningham Archives, then located at Bank Street, and at the New York Public Library for Performing Arts.

For anyone interested in coming to the lecture and chatting afterwards about experimental fashion while sipping wine, please visit the Somerset House website, as advanced reservations are required.

 

Experimental Fashion's Book Launch on March 16th at Parsons School of Design, New York.

 LEIGH BOWERY, JULY 1989, LOOK 9, PHOTO FERGUS GREER, COURTESY OF THE ARTIST 

LEIGH BOWERY, JULY 1989, LOOK 9, PHOTO FERGUS GREER, COURTESY OF THE ARTIST 

Please join us for the launch of Experimental Fashion: Performance Art, Carnival and the Grotesque Body by Francesca Granata, Director of the MA Fashion Studies in the School of Art and Design History and Theory at Parsons, the New School for Design.

The author will be in conversation with German fashion designer Bernhard Willhelm and Charlene K. Lau, Parsons Postdoctoral Fellow in Visual and Material Culture.

The event details!

Thursday, March 16th, 6:30-9:00pm
Parsons School of Design
Wollman Hall, Eugene Lang Building
65 West 11th Street
New York, NY

This event is free to the public and a reception will follow.
RSVP by clicking here.

Experimental Fashion (published by I.B. Tauris) is a study of designers and performance artists, including Leigh Bowery, Rei Kawakubo, Martin Margiela, and Bernhard Willhelm.

The book argues that the proliferation of bodies-out-of-bounds in fashion at the turn of the 21st century was influenced by feminism's desire to open up and question gender and bodily norms and particularly the normative bodies of fashion. This proliferation was also tied to the AIDS epidemic and mediated the fears of contagion and the obsessive policing of bodily borders that characterized the period.

‘Alternative Fashion Strategies’

 Sansone1_CHC_8045_edit_color

Sansone1_CHC_8045_edit_color

by Mae Colburn Indigo dyeing workshop at the Arnold and Sheila Aronson Gallery. Photo: Chris Hyun Cho

‘Alternative Fashion Strategies: Design Incubator with Green Eileen’ (March 30-April 5, 2015) in the Sheila C. Johnson Design Center at The New School’s Parsons School of Design was a little like a game of Twister. Students, designers, farmers, and members of the public maneuvered around a portable loom, a knitting machine, an industrial sewing machine, and various other hand-crafting implements stationed throughout the gallery to examine the interplay between industrial manufacturing and local production, testing areas of contact and overlap. Throughout the week, design samples accumulated on walls, tables, drying racks, and even on the radiators, whether de- and re- constructed sweaters, needle-felted fleece, or indigo dyed garments. Some were made in advance of the exhibition and others at workshops held throughout the week on topics ranging from fiber processing to bengala dying to machine knitting. A sense of purpose coursed through the exhibition, and so did a sense of excitement, the kind that emerges when people and materials meet.

Laura Sansone

, first interviewed on Fashion Projects in 2013, curated the exhibition. Our conversation shuttled between the work she does with fiber farmers in the Hudson Valley and with designers in New York City, tracing what she envisions can become a tight-knit local supply chain.

Mae Colburn: Let’s start with some of the broader ideas at work. What motivated you to put on the exhibition?

Laura Sansone: Well, I’m interested in this interplay between industrial manufacturing and local production, specifically agrarian businesses, and specifically how those things can work together […] I think it can really help to create economic diversity and grow these smaller enterprises. That’s what motivated me to do this project and what motivates me in my own work as well. […] It’s not always appropriate for them to work together, but I think that it’s a way to start to see a shift, those moments when these two entities can come together - it can shift the economic power and be a good way to rethink how things are structured.

MC: And the idea to shape this into the ‘Design Incubator’?

LS: This started off as a partnership between Eileen Fisher and the students here at Parsons. The Green Eileen program is an initiative with Eileen Fisher where they take back clothing from their consumers, so they have people send back clothing and they resell it in green Eileen stores but the secondhand clothing that they can’t resell they call ‘third life’ and they ask designers to repurpose it. So I had been working on that, and in my quest to repurpose her clothing, I was mixing it with materials from the Hudson valley, from Upstate New York, […] so I started using those materials in combination with the repurposed secondhand clothing, and that became the parameter for the course I teach at Parsons, and also for this partnership. That’s really where this all began.

 Sansone2_CHC_8051_edit_color

Sansone2_CHC_8051_edit_color

Eileen Fisher sweaters dyed with indigo and unraveled to be re-woven. Photo: Chris Hyun Choi

MC: So, there were prototypes on display and workshops. There was also a printed material on the walls. How did all of this come together?

LS: The prototypes were from students, and then we added to them during the exhibition. We had lots of workshops going on, and as we generated work we would hang it - so it was kind of an incubator where things were growing. The printed matter came from someone that I had met at the Textile Society of America conference in 2014, Helen Trejo, who is a PhD student at Cornell University and is writing her dissertation about the feasibility of a Fiber Shed in New York State. So we’ve been exchanging information over the past year and I asked her for permission to display some of her research and so a lot of the diagrams that were included in the exhibition were from her. She had some really great maps that showed where the mills and fiber farms are in New York, so that sort of located those for people who came into the gallery to see the work.

MC: What was a highlight of the exhibition for you?

LS: One highlight for me during this exhibition was having people from the farming community come and actually speak to the students about their experiences as farmers and fabric producers. We were talking about the supply chain and one of the farmers who came actually said, ‘I’m going to start right at the beginning of it, and I’m going to tell you what I feed my sheep,’ and I thought that was so incredible to have fashion and design students sitting there and listening to this and making that connection, that it starts with the fiber that comes from the animal, that it starts with the diet, and how that effects the quality of the fiber and the form – I think that’s a great lesson.

MC: To encourage designers to consider other variables beyond say, color and drape?

LS: That’s right. So for me, waste is essential. It’s something that I’ve always cared about and wanted to consider as a designer. Like, where do my cutoffs go? If I’m generating product, what kind of impact does it have? And with the natural dyes as well, we use the waste from farms, we use the carrot tops and concord grapes that you can’t sell – there’s this link to the origin of where things come from, and how that can be integrated into the design process. […] So [at the workshops] a lot of students were deconstructing sweaters and we were re-knitting them and I thought that was really exciting. I also have students who are working deconstructed sweaters into felted pieces, which is really great – mixing the fleece with the Eileen Fisher’s mohair and merino and cashmere materials.

 Screen Shot 2015-05-09 at 6.38.22 PM

Screen Shot 2015-05-09 at 6.38.22 PM

Map of New York State Fibershed showing fiber farms and mills. Helen Trejo Fiber Science & Apparel Design, PhD Student, College of Human Ecology, Cornell University.

MC: I thought it was interesting that the word ‘sustainable’ didn’t appear in any of the material related to this exhibition.

LS: I was trying not to because what happens is that if things get overused – language – they become diluted and people start to dismiss it as something that isn’t important. So I think it’s really useful to always be rethinking things and reframing them. I think that’s part of growth in general. […] I was also trying to steer away from this word ‘artisanal’ because I think that’s also becoming diluted, but that it’s actually really important because ‘artisanal’ can talk about a smaller way to produce things, you know. It can talk about localizing things.

MC: But you did use the word ‘fashion’?

LS: Of course, absolutely, because I really want the fashion industry to play a critical role in changing things. I think it’s so important, because they’re responsible for a lot of the waste that we see in the supply chain – where we’re diminishing value where we could be increasing it. So yes, but I also see what I do as being completely cross-disciplinary. It’s dealing with fashion. It’s dealing with interiors. It’s dealing with architecture - we’re starting to think about how wool can be used as insulation, wool that is waste wool.

MC: So how do you envision the project moving forward?

LS: Well, I would like some designers, especially those who are located in New York and who are on this large-scale level, to build ties with some of these local artisans. They’re doing it globally, but I would really like to see it happening here in the U.S. So that’s something that I would like to see, and for me as a professor, I try to get my students to take on the responsibility of educating consumers. I think that trying to encourage them to design ethically and then to sort of take on this role of educating - I think it’s really necessary for designers: to take on this big task of shifting consumer behavior. You know it’s huge; in a capitalist system, it’s a huge thing to take on and designers need to take on that role.

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

Francesca Granata

Punk Style

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