FKW // Zeitschrift für Geschlechterforschung und visuelle Kultur
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Ohrtasche, 2005
No full textBarbara Graf"Anatomical Clothes"To distinguish between the abstract act of covering the body and its concrete clothes means to confer upon the solemn, dignified garment a mediating position between the two. “Anatomical Clothes” by Barbara Graf participates in both discourses: they claim our attention as autonomous objects which can be displayed fully spread out and hung on a wall, but they can also be folded and tied up as transportable packages. “Anatomical Clothes”, in their material structuring and ordering, refers explicitly to the inner layering of the living body. But the way they are made also reveals the living body turned into a remote and distant object. It is this double conception of the body as both a living thing and an object that creates the possibility for viewing “Anatomical Clothes” as autonomous and sui generis. The clothes are not “fashion as sculpture” but rather are part of the system of art. It is as art objects that they are able to generate experiences, perceptions, intuitions of psychic realities – be they terrifying or solemn – and thus to open a view onto other worlds associated with the body, for instance that of “fashion”
Sterben in Schönheit. Zur Inszenierung des Todes in der Modefotografie
Get PDFBurcu Dogramaci Leaving a Beautiful Corpse. The Staging of Death in Fashion PhotographyThe “dead woman” is a recurrent motif in fashion photography. This is all the more amazing as it seems to undermine the very purpose of fashion photography, which is supposed to make clothes appeal to the consumer so that they may be bought. How can such images promote fashion when the taboo of death is put on display? But despite this apparent contradiction, the photographs of Izima Kaoru, Helmut Newton, or Guy Bourdin are strange and fascinating. In a self-referential manner, the images force the observer to see that fashion always plays with the notion of its own demise.In the 19th and 20th centuries, cultural philosophers like Georg Simmel, Giacomo Leopardi, and Walter Benjamin wrote about the cyclic nature of fashion, wherein only the “death” of a trend can give rise to a new style. These authors constructed a connection between death, fashion, and women and created the topos of the “beautiful corpse”. Reflections of these ideas can still be found in the works of fashion photographers such as Guy Bourdin or Izima Kaoru, whose work focuses on the very end of life. In the mid-20th century, Bourdin was one of the first fashion photographers to artistically expose the cruelty of high-fashion beauty, referring to the Surrealists. Guy Luchford and Kaoru followed his lead, but intensified the images by even staging fashion deaths
Modische Erscheinungen in der Kunst. Zum sehen und Gesehen werden bei Francesco Vezzoli
Get PDFMatilda Felix Fashion Into Art: Seeing and Being Seen in the Work of Francesco VezzoliOne of the reasons why the art world has always tried to keep its distance from the world of fashion is the latter’s overall commercial orientation. However, it is above all the “image” of fashion as superficial and transitory and concerned with outward appearances that made art and fashion seem incompatible. An art committed to the production of “autonomous” and “authentic” meaning could do no less than to distance itself critically from the absence of content in fashion. It is, however, necessary to modify this attitude, because the parallels between the art market and fashion in both art and behavior have become increasingly visible. The interactions between the two spheres are especially interesting when they occur not only on the level of formal design, but when they are constitutive of meaning. In her article, Matilda Felix concentrates on the alleged superficiality of the world of fashion. According to her, the incessant reenactments of outward appearances through fashion reveal – notwithstanding their contingent and transitory nature – stable and well-structured patterns. The works of the Italian artist Francesco Vezzoli show how this can be turned to productive artistic use
Untragbar. Mode als Skulptur? Barbara Graf. Zum Beispiel. Die anatomischen Gewänder
Get PDFBettina Köhler Unwearable: Fashion as Sculpture? Barbara Graf. For Example: Anatomical GarmentsBy making its envelopes/disguises/clothes into objects of artistic exploration, the body is in a strange way reintroduced into the world of art. Interest in this topic has grown steadily in recent years – thanks both to discourses on the body and to the fascination with envelopes/disguises/clothes. Both aspects coincide in the phenomenon of “fashion", and in the transformation of fashion into art and art into fashion.
