In “Deconstruction Fashion: The Making of Unfinished, Decomposing and Re-Assembled Clothes,” Alison Gill uses the idea of decontruction borrowed from philosophy. Jacques Derrida was a French philosopher who named the process of breaking down established forms. The term is normally applied to text but also describes breaking down conventions and normal boundaries. Gill suggests the fashion style of deconstruction, called “Le Destroy,” by the French, is an intentional effort at unfinished forms that are coming apart, recycled or transparent. Rei Kawakubo, Karl Lagerfeld, Martin Margiela, Ann Demeulemeester and Dries Van Noten are the designers in this category. The basis of all decontructioned clothing is aestheticized non-functionality that amounts to anti-fashion.
In philosophy, deconstruction reveals the instability of meaning of words and phrases. The deconstuction of style was first observed in communication design in the Cranbrook Acadmey. A 1988 exhibition at MOMA about deconstructivist architecture brought the term into larger consciousness. Gill suggests that Martin Margiela is an example of deconstruction architecture of the body. His clothing is composed of parts of other clothes, linings, zippers or fixtures from many places with transparent assembly. “Margiela literally brings the secrets to the surface.”
Margiela S 2007 and Margiela jacket made of a Swiss Army bag 2006
Deconstruction is also a living critique of the fashion system. Decontructivist designers reveal fashion’s charms – ornament, glamour, spectacle, illusion, fantasy, and exclusion. Importantly however, the designer is not just not destoying. It is instead a simultaneous “forming and deforming, constructing and destroying, making and undoing clothes.” The design and anti-design are equally essential.
In “Part-Object,” Yve-Alain Bois and Rosalind Krauss begin by explaining that the presentation of Swiss artist Giacometi’s “Suspended Ball,” (1930) was embraced by the surrealists. The divided ball hanging above a curved wedge created a tension in the viewer’s experience. The work was not about the ball being suspended as much as the moment of suspense, suspense forever unfilled in this installation. The work actually prompted Dali’s articulation of the idea of “surrealist objects.” Yet Dali’s objects consistently depend on the need for explanation, like illustrations of his text. The authors suggest that the “part object” sexualized content of Giacometti’s work resists the thematic, narrative type of explanation. Psychoanalyst Melanie Klein considers organs as things that are not connected to the body but rather considered as abstract, loaded symbols. Bataille’s surrealist photography of the body often alters angle to transform the body into an abstract shape. Lygia Clark's “Propositions” from 1966-1968 are sculptures that engage the human body into the art work.
Varvara Stepanova, Russian gymnasium clothing, 1923
The naturalism argument against fashion is that the forms are constricting. From the high heel to the three piece suit, many aspects of the status quo are imposing. One reaction is fitness clothing which has made its way into fashion.
Bruce Weber for V Magazine, 41
Many feminists argue that fashion emphasizes youth and sexuality. The use of men’s clothing and the increase of unisex clothing is evidence of this consciousness.
Terry Tsiolis for V magazine, Fall 2007
Conservative skepticism suggests that indulging in fashion is an over-estimation of the times. The fashion industry is seen as a propaganda machine that positions basic clothing as “out of fashion.” Minority groups such as Hassidic Jews and the Amish, maintain their dress out of devotion and are not engaged in fashion. Dress is a distinguishing factor like law or language.
However the Afro and Mexican Zoot suit are examples of minority style factors that have worked their way into fashion. There are also fashion styles considered actively counterculture. The beatniks, hippies and punks consciously dressed in forms that opposed the status quo. Now many of those forms have been appropriated by designers like Gautier, Moschino or Vivenne Westwood who have made them more common and acceptable.
Mario Testino, Vogue Paris, November 2008
“Clothes are not for triumph but defense, hast thou always worn them perforce and as a consequence of Man’s fall…?” Thomas Carlyle
The essential basis for the form of clothing is the human body. Clothing covers the body and takes shape in human scale. In “Protection,” John Flugel describes clothing as protection against physical danger. The idea of wearing clothing for protection is more directly related to the need in cold climates, evident in the use of fur. Most people however wear more clothes each day than they actually need for protection . We have also sought clothing for protection from enemies such as armor. There are also examples of clothing which is intended to protect from sporting accidents or animal threat.
Armour
Dolce & Gabbana S 2007 and Hussein Chalayan, S 2000
Hermès, 2008
From protection to ornament
Michael Kors F 2009 and Chanel Haute Couture SS 2009
Fugel also describes clothing as protection against imaginary dangers such as magic or spirits. The author speculates that some of the first clothing may have been ornamental items to protect from negative psychological threats. He suggests that clothing began as a utilitarian thing but like art it gradually was transformed into decorative. The idea of clothing with psychological power – such as luck or supernatural blessing – is still practiced by some.
We widely associate certain aspects of clothing with certain personalities. Soft collars are for soft people while firm collars are for firm business men. Black is associated with evil and white with innocence while color coordinates to emotional expression. Covering the body is modest. Thick and stiff clothing suggests protection and uprightness. Tightness varies by how much it reveals of the body.
Clothing also provides a comfort, putting personal things closet to the body. We are inclined to cover ourselves with unnecessary outerwear when we are not comfortable or feel our clothing is not like those around us. The author also suggests that our love needs may also be expressed by how much clothing we wear or our feelings of hot or cold. Clothes are womb like in their complete coverage. Clothes are also more commonly associated with the formation of the concept of mother and woman.
Ed Ruscha, The Mountain, 1998
Alexander McQueen, by Craig McDean and stylist Tabitha Simmons, Fall 2008
Artist Petros Chrisostomous, Mouth to Mouth, 2007
Alexander Wang, Fall 2009
Ann Demeulemeester, installation at Villa Noailles, 2006
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