Modrenisim and Post-Modernism in Fashion

Date 17/12/15

Contemporary and Contextual Studies / E18CC_2015-­‐2016 Discussion on how Modernism and Postmodernism have influenced Design – Thom Brown/ Jeremey Scott RUAIRI OLIVER MCCAFFREY/ 00204148

Word Count: 3150

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Using examples from selected designers discuss How Modernism and Postmodernism have influenced Design?

This text will explore how modernist and postmodernist design has influenced the work of Jeremy Scott and Thom Brown. To fully understand how these techniques have influenced these designers and the world of design around us, we need to understand these terms from their foundational principles. The conceptual ideas they put forth to finally their application to the social and visual world. To many of us the contemporary world we live in is the modern world, but what is the modern world made up of? It is primarily made up of objects of design. These objects often can naturally be categorised into periods of design: Gothic revival, Arts and Crafts, Bauhaus, Modernism, American Industrial Design, and finally Postmodernism ( C, Hilton 2013). These six era of design can then fall into two basic principles: Decorative or Non-­‐Decorative or in other words Modernist or Postmodernist.

Modernism took place in the early 20th century, it was a movement which reacted to all the trauma that had happened prior: the First World War. This war caused a huge sense of loss in human progress and the promises of a prosperous future, promises which were made in the enlightenment era. Modernists rejected enlightenment and rejected history, they wished to forget, to wipe the slate clean and look at the world in a whole new way. This post war world was ready for a change, and Modernists hoped to do that. This new, radical movement reached far and wide, and applied its self to any conceivable creative outlet: Poetry, Architecture, Graphic design, Film, Music, Art, and Literature. From the ashes of the Post-­‐War world rose innovation, and gave life to artists such as Picasso, Escher and Dali (Robinson et al., 2006).

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Although Modernism covers many different styles; Cubism, Surrealism, Constructivism, Futurism, Expressionism, Abstraction and so on (C, Hilton 2013), they all share the same foundations that characterize them as modernist art. To discard history and the principles of an old fashioned, conservative society. This new institute wished to experiment and innovate constantly, by challenging shape, and the depiction of colour and our relationship to it. To abstract the lines that make up a piece of work.

Take for example Picassos ‘Les Demoiselles d'Avignon’, this work is a clear rejection of conventional and realistic form (Robinson et al., 2006), in it one can see a Figure 1, Pablo Picasso, 1909

sign of the times. A fragmentation which completely reshaped the realms of reality. This feeling of disrepair was in the atmosphere, which was challenged and reimagined into a new world of thought and way of viewing the world. Also a pronounced significant placed on craft and technique, on materials sourcing and production and processing. This can be easily contextualised through Dieter Rams and his ten principles for ‘good design’:” Good Design Is Innovative, Good Design Makes a Product Useful, Good Design Is Aesthetic, Good Design Makes A Product Understandable, Good Design Is Unobtrusive, Good Design Is Honest, Good Design Is Long-­‐lasting, Good Design Is Thorough Down to the Last Detail, Good Design Is Environmentally Friendly, Good Design Is as Little Design as Possible” (D, Rams 1970). Theses ten principles became the frame work for the truest of modernist design, and thus grounding a regimented clear guide for the movement.

From modernism, we move to its antithesis: postmodernism. This term emerged in the late 1950’s/1960, while still relevant to the present day. Post modernism’s foundations can be found, not in what it believes, but what it rejects (English, n.d.). The postmodernist movement defines itself in the rejection of everything ‘modernist’. The postmodernist concept is completely reliant on the ideas that came before. While modernism sought to bring life to the ideas and concepts of the 2

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enlightenment era, postmodernism contradicts and rejects all proposed notions of what defines a good society. It defines itself in absence of structure and lack of reason while the modernists hold dear the concept of ‘good taste’ and ‘good design’. While modernism is often involved in high culture, deemed inaccessible to the masses, the postmodernist polarizes these concepts and beliefs in every conceivable way. Postmodernism flattens the perceived idea of taste, leaving culture and class to the waste sides so there is nothing left but items, and imagery and matter to choose from.

The Memphis collective, led by Ettore Sottsas was one of the most important groups of the postmodern design movement, known for their furniture and product designers. The Memphis collective represented the unity that came with combining verifying ideas and concepts (Watson, 2002). The Memphis collective sought to not only break away from the rules of modernism but to

fight against all it stood for. As decussated the postmodernist concept is completely reliant on the ideas that came before. Memphis took the rules and tastes of modernism and turned them completely on their head. Modernism was for function, Memphis was for joy. Memphis broke and rules of taste and traditional from their first exhibition in 1981 to their departure seven years later.

While Memphis deign never became a commercial success it was still highly influential to the world of fashion. We can see this through ‘Grace Jones -­‐ Slave to the Rhythm’ (Jones, 1985). This music video is in direct effect of the collective through colour, shape, pattern, and imagery throughout. In many ways Memphis was a beacon of the time, embodying a whole new age of creativity and freedom, a signature style of the 1980’s.

Memphis’s influence in fashion is undeniably remarkable, not only in its time but the collective is still the source of creativity to this day. Its wild prints and furniture which defy functionality are still being made tribute to on the catwalks of today: Saint-­‐Laurent, Raf Simons and Jeremy Scott (Cheurfi, 2014). While the Memphis collective was ground breaking for its time, it could be argued that it is over played in the modern day. In many cases designers can simply lift the work of the collective and it is justified as being credible creatively because it evokes an important age in design. It is arguable

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that it is simply the postmodern, prompting one’s self through the use of other third hand culture. It is hard to say at this point what postmodernism really means. Is a rebellion against modernism, against structure, function, and necessity, like we can see in the work of Memphis? Or is it simply the recycling of the old, combining countless elements, in an ultimately circular fashion, enviably loosening substance each time, until there is no meaning left. A pastiche of its former self.

Figure 2 Raf Simons Fall 2014 (Ch eu rfi , 2014)

Figure 3 (1stdibs, 2014) Jeremey Scott S/S15

Postmodernism seeks out imperfection, and counter culture. It impersonates, mocks and bastardizes every aspect of the world that came before, meaning it samples from all cultures, Western, Eastern, and African, indiscriminately and disinterested of the sanctity of theses cultures. Postmodernism breaks all the rules and combines cultures and conflicting ideas to create a bricolage of styles, colours, patterns and ideas which to some can be deemed as offensive or socially immoral. In fashion terms the postmodernist aesthetic seeks to challenge normality. To push the boundaries of acceptable manner and convention. To approach things from a different point of view or multiple points of view. To experiment but primarily to reject tradition and the foundations of hierarchal, historical, functional and social dress. We can see this in many of Scott’s collections 4

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A Postmodernist designer uses fashion to create a self-­‐affirmed sense of individuality, but it could be said that they do this in a very unoriginal and often aliening ways. It often is misappropriates Figure 2 (Spagnuolo, L. (2013).). Jeremy Scott Fall/Winter 2013

imagery plagiarizes

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work

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completely. For example Jeremy Scott lifting the work of Jim Phillips of Santa Cruz Skateboards (Spagnuolo, L. (2013). Postmodernist fashion takes the ideas of dress and traditional fashion methods and deconstructs them or rejects them completely. It defies tailoring and accurateness, an example being the early work of Vivienne Westwood, known by the mother of punk fashion. “Punk was trash culture gone avant-­‐garde and/or the avant-­‐garde gone trash, and just as Dada had tried to destroy the institution of art, so the punks seemed bent on destroying the very institution of fashion.” (E, Wilson 2000). A postmodern designer may also use fashion to intentionally parody or mock the world, the designer may self-­‐reflect or reflect an ‘ugly’ truth in attempts to show a paradox or state of injustice in their work, such as the punk movement. As we know it is common place for fashion to be used as social or political tool, from the early days of post-­‐modernist fashion to the present day for example: Alexander McQueen’s “Highland Rape” show and Rick Owens show "Sphinx", both caused an incredible controversy and caused the viewer to ask questions about is deemed acceptable (J, Waters, 2015). These designer have used shock to communicate their message while other designers have employed satire or parody to deliver their ideas. Once more we see this through Jeremy’s Scott.

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Jeremy Scott born in Kansas, Missouri, began his career in 1990 and rose to fame gradually. It was not until 2008 when his footwear collection with Adidas granted him the credit of house hold name and infamous celebrity in his own write (Scott and Deitch, 2014.). Scott embodies all that contemporary post-­‐modernism represents. He describes himself as the people’s designer, while others describe him as our generations Andy Warhol. This description of Scott could be perceived as accurate, noting his often callous appropriations of imagery and general pop culture is parallel to the rise of Warhol (S,McCorquodale 2015). In fact it could be argued that Scott has followed almost entirely in the footsteps of Warhol. Take for instance the use of Coca Cola in both their work, the use of synonymous American icons such as Campbell's soup and McDonald's, the use of women in their work as means of selling or to be sold: Rita Ora and Miley Cyrus to Warhol’s Marilyn Monroe and Liz Taylor, the use of children's cartoons: Scott's SpongeBob to Warhol’s Micky Mouse. As a single incident, it may seem coincidental but as a larger image it becomes rather compelling. Not only does Scott appropriate imagery in his work, but his success is also recycled, taking the work of Warhol and reincarnating it through 21st century icons.

Figure 5 (Denley, S. 2014) Jeremy Scott's first collection for Moschino

Figure 6 (Warhol, A 1981) Quadrant Mickey, Mouse/Myths

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Figure 3(Cardiner, 2014) Moschino by Jeremy Scott F/W 13

Figure 4 (Reder,H 2015) Warhal Cans

Scott is clearly very inspired by many of the ideas Warhol has communicated in his work, and can quite often appear derivative. Scott also requires the consumption of imagery to produce work, combine’s the higher culture of fashion with the lower culture of cartoons Perhaps one of Scott’s most iconic works is when he comments on McDonald's, this work drew huge parallels to Warhol’s Campbell’s soups. Both Warhol’s and Scott’s works ask questions about what we are prepared to put into our bodies, often unwitting of the effects. Campbell's soup and McDonald's not only representing consumerism and the mass-­‐producing power of the machine but they singularly represent the sustenance of the western landscape. Both socially and economically, these works attempt to provoke the reader into looking at their surroundings, asking in a world defined by choice, how much choice is there really? For instance the contents of the McDonald's meal can change from; chicken to beef, sweet to savoury, “healthy” to vastly unhealthy, but like a can of Campbell’s soup it is still looks the same, costs the same and perhaps even tastes the same. You cannot buy a better McDonnell’s, a better Campbell’s soup or a better coke. It’s the illusion of choice which defines our so called democracy (J, Anderson, 2012)

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Scott’s use of celebrity endorsement could be a coincidence, or even a general aspect of the pop culture but it could as also been criticized as a nihilistic use of the icon. A deliberate selling strategy, which maybe vital to the postmodernist design and inherent to their ideology. This is use of iconography is yet another parallel between Scott’s and Warhol’s work. Warhol painted women in the exact same way he painted everything else, as objects, as commodities, consisting solely of surface. If Scott is in fact using these women as yet another decorative surface to export media on, a bricolage of identity, then it is very reminiscent of Warhol and fundamental postmodernist design. In the words of Andy Warhol “it’s beauty, and she’s beautiful and if something’s beautiful it’s pretty colours, that’s all.”( K, Goldsmith, 2009). This statement represent the majority of the themes explored in the previous paragraphs, and particularly the use of the icon, and appropriating images.

Thom Browne began his fashion careers from an unconventional background. Born in Penfilavila, Browne was formally educated in economics. In 2001 Browne launched, out of New York, from there he developed his open very specific language through dress and tailoring. In 2006 he debuted his ready to wear collection (Scott and Deitch, 2014.). From there he has earned himself an important place in fashion, and is arguably one of the most important designers of the 21st century.

Brown has single handily redefined what menswear represents on a global scale. When one looks at the work of Browne it can be quite often difficult to fully comprehend. His work takes everything we know about masculinity/femininity, formal/casual dress, establishment/anti-­‐establishment and generally everything that defines how we dress to date and contorts it to something unrecognisable.

Browne’s approach has granted his designs iconic status, for instance his redefining of the traditional men’s suit. In a world where jeans and a white T shirt had become the sartorial standard, Browne’s highly stylised traditional ‘shrunken suits’ became the anti-­‐establishment. A rebellion against ‘the casual’, against contemporary and essentially postmodern sensibilities of dress, and the ever encroaching apathetic attitude to social and working life (A, Larocca,2006) 8

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Brown’s world exists outside of what most can call normality. A world both provocative and defined by tradition and rigidity, with strong references to his nationality and sport. Browne’s world is a subverted, exaggerated utopia reminiscent of the 1950’s and 60’s. Browne often remarks of his appreciation of the simpler times of the 1950’s when a man had what he referred to as the “male uniform” (K, Dold, 2013) which in attempts to re-­‐ instate. He does this through the Thom Browne brand, his clothing and his fashion shows which often take the form of installations. Shows which demonstrate this point are ‘Pitti Uomo F/W 2009’ and 'The Officeman, 2015' and many others which take a broader and perhaps more playful definition of the suit, and uniformity: ‘spring/Summer 2013 Menswear’, ‘Spring/Summer 2014 Menswear’, ‘Autumn/Winter 2013/14’

Figure 10 (Brown, 2015) The Officeman

Figure 9 (FENNER, 2015) Pitti Uomo F/w 2009

It is

Figure 12 (BLANKS, T 2015) A/W 13, 14

Figure 11 (BLANKS, T 2015) S/S 14

when one looks at ‘Autumn/Winter 2013/14’in comparison to 'The Officeman, 2015', these shows can often polarise the viewer, while also polarising themselves. While Browne can switch from modernist to post-­‐modernist aesthetics from

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one show to the next there are constants throughout his work. Qualities such as discipline, tailoring, nationality, innovation, provocation. When one reflects on these qualities one may think of Dieter Rams and his ten principles for ‘good design’. These principles defined modernist design to an exact science, they regimented clear guide lines to for its ideology. An ideology which is remarkably reflected in Browne’s work.

Does this mean we can define Brown as a modernist? His designs are by all means thought out, with incredible detail and world renowned for his craft. His designs are environmentally friendly as most of his garments are hand made in the USA, so there are fewer air miles then an average garment, which also relates to the quality and last of the garment. Browne’s designs are also long lasting in that they are timeless. His garments are designed with the male buyer in mind, as most of his work has strong references to sport, which in his own words “guys can often relate to sport”, thus making his product understandable to the potential male buyer. It is certain that his work defines innovation, we can see this from his iconic shrunken suit, which has redefined social dress into something much less casual while giving the suit edge and character. His designs have an undisputed and unforgiving aesthetical visual to them, a visual he has created and lives by. His designs are honest, Browne lives in the way he designs “it’s a uniform I wear every day. I’ve been dressing the same way all my life, except now it’s ‘mine’ (Welch, 2015). Browne practices uniformity and simplicity through out of his work and life. Which relates to the next principle, good design is as little design as possible. With this uniformity one is not reinventing garments or looks seasonally and makes dress or the creation of dress much more methodical, for designer and consumer, simplifying the process.

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This is not to ignore Browne’s more avant-­‐garde creations, noting in his work there is a large amount of theatre and provocativeness, while being deeply conceptual. These works are still created through precision and tradition and attention to detail. This is where Browne blurs the line between Modernism and postmodernism. Although his shows are unconventional, his ready to wear collection are, just that. The garments are very commercial and grounded, a cornerstone of modernism.

Figure 13(BLANKS, T 2015) Thom Brown S/S 13 Collection

Figure 14 (Fischer, D) Thom Brown Look book S/S13

To conclude, one can see the clear effect of modernism and postmodernism in Browne’s work, but it is modernism which truly effects every part of his life, from his personality to his creative process.

When viewing Browne’s work one can see there is a strong theatrical visual, and many references to culture and past decades and thus this approach is intrinsically postmodern. That being said, when Browne creates he is more concerned with the process rather than the literal translation of the visual. A polarizing factor between Scot and Browne. Browne remarks, “you forget enough that enables you to invent something else”. It is this “something else” he creates which is innovative, and innovation is inherent to his position as a modernist. While Scott’s influences in postmodernism are specifically grounded, and literally translated through the path forged by Warhol, and through Memphis, and most importantly popular culture, it is all reliant on one single principle. To push the boundaries of convention, to re-­‐contextualize the world around us. By doing this he aims to

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demystify the values that modern society holds dear. Rebelling against good taste and the boundaries of ‘acceptable manner and convention’, the epitome of postmodernist design.

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