Welcome to the 177th insertion of DEMUR®, an analytical series highlighting the intricacies of the artistic world and the minutiae lying within. In this episode, we dissect fashion’s obscure relationship with the body, observing the attributes that define our physique.
Without a muse, fashion doesn’t exist. Built upon the very features that define our anatomy, at its core, style is used as both a form of self-expression and flattery. Over many centuries, our association with textiles, cuts and trends has drastically evolved, showcasing the body under a series of different lights. As the ‘ideal’ silhouette perpetually shifts, so does the fashion zeitgeist, alongside our perceptions of each.
The masculine and feminine profiles we’re familiar with today delineate from the 20th century’s roots. Through a contemporary lens, skin, for example, is ultimately commonplace, encouraged atop the runway and even through mainstream media. In the Western world, fashion has continued to push away from modest tropes, opting instead for radical and often provoking ideals.
We can accredit this pivot to the 80-90s anti-fashion movement, pioneered by the likes of Rei Kawakubo and Yohji Yamamoto. Rejecting Paris’ untouched conformity, these creatives deconstructed the runway, revolutionizing our understanding of the body as a canvas instead of a vessel. Looking to Kawakubo’s Spring 1997 ‘Lumps and Bumps’ collection or even Gaultier’s Autumn ‘95 showing, the contrast between the likes of Versace per se is undeniable.
Exploring the limitations of accepted physique, these artisans often focused on silhouette, while extremists like Carol Christian Poell and Alexander McQueen investigated stand-alone anatomy. McQueen was known to infuse his own hair into suiting, while CCP would notably produce eye-rings, human hair knit sweaters and teeth necklaces, for without an obsession with the body, fashion would remain stagnant, in shape and vision.
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