| Magnetic & Magmatic Environment dressing Rosanna Cinque July 1998  • Intro • Environment dressing • Ambivalent Landscapes |
The new ecological awareness is proving to be quite thorough and complex because for years it has been expressing an increasingly widespread existential need in the advanced societies, a need that manifests itself in various sectors, giving rise to an aesthetic vision in which the interest in organic, natural forms and materials does not, however, exclude the judicious use of advanced technology. In the textile/apparel industry, too, the confrontation between the technological and natural realms seems to have been resolved with a sort of compromise, giving rise to a new approach that tends to reconcile the two positions. All the research conducted on both old and new materials, plus the use of increasingly advanced technology by the manufacturing community has contributed to the relaunching, albeit in updated versions, of certain natural materials, like wool and cashmere, that continue to enjoy success thanks to their wonderful sensorial qualities.
The new aesthetics express a new concept of the relationship between the body and the environment or living space that fluctuates between the two opposing poles of technical-artificial and natural. The latter dimension in this equation refers to both the recovery of traditional culture (ethnic groups), on the one hand, and the need for an extreme form of essentiality, on the other, by means seeking out archetypal forms and materials capable of once again providing the effect of textures and resembling the materials naturally found in nature.
The process of drawing inspiration from nature is further enhanced by the surprise effect created by extremely sophisticated examples of workmanship and artistic virtuosity which have the enchanting capacity to contradict the weight and rugged tactile qualities of the natural materials being referred to, setting up a delightful paradox: for example, a fabric that has been fashioned to resemble bark, with all its rugged, heavy associations, may, in reality, be light and smooth as silk.
The articles in the trade journals and advertisements in the fashion magazines in some cases appear to go so far as to insist on a "return" to the unadorned, naked body, a real no-frills approach, advocating a primitive, almost animal model, a sort of "open-air" aesthetic by means of which an attempt is made to reestablish a mythical primeval bond between man and nature, a fusion between body-clothing and the natural environment.
Breaking this concept down gives rise to three different courses that reflect the evolution of certain trends regarding forms and materials, along which companies in the sector have been industriously working in recent years: Native Soul, Natural Breathing and Body & Beast.
Native Soul is the sensibility that expresses the deep interest in the most primitive and ancestral aspects of culture, nature and the earth. The great interest in various ethnic groups and ancient civilizations represents the pressing need for deep cultural roots and concerns about safeguarding the rich patrimony of rituals and customs, hinting at (thereby implying) the definitive victory of the standardized, global culture. The perspective from which ethnology is currently being approached only serves to underscore the tremendous attraction the most obscure and mysterious aspects of rituals and customs exercise on the imagination of modern man, earnestly seeking to fathom the nature of the instincts in order to be able to reestablish an open relationship with his physical nature, which currently seems threatened by new dimensions of knowledge. This sensibility also gives expression to the irrational, deep-seated fear that the new technical and scientific fields of knowledge are ushering us down a path that leads irreversible to artificial worlds, the uncontested reign of a restrictive technology that stifles every manifestation of individual uniqueness. On the other hand, the world’s primitive tribes represent an example of an enduring harmony between the individual and nature, a symbol of the great concern and respect for the primitive components of life.
Fashion is reelaborating the graphic motifs and designs of native peoples, projecting itself into a more advanced future by means of experimenting with new forms and decorations on various materials. Compact appearing fabrics, felted wools, rough, irregular materials, like hemp and linen, and earth tones are employed in unpredictable combinations in accessories and garments with a decisively elegant flair, setting up an enticing contrast with their raw, natural look. The deconstructed, protective/enveloping shapes are a clear reference to the function of primitive clothing as shelter from the elements. The naked bodies shown in many fashion journals represent the quest for an image capable of showcasing the free expression of the body and capturing the transparency of the soul.
Among the most highly representative examples of this area of sensibility, we could cite, on the one hand, the more high-fashion oriented interpretations of French designer, Jean Paul Gaultier, or, on the other, the Sportmax press advertising campaign for clothing, featuring naturally beautiful landscapes, evocative of "native" values.
The Natural Breathing sensibility, on the other hand, gives expression to the more magical, fairy-tale related components. In this case, nature represents a source of inspiration for moods and impressions that evoke the feel and rhythms of the plant realm. The "breath of nature" is expressed by means of texturing, variegated melange tones that take their cue from the infinitely nuanced costume wardrobe of the plant kingdom. The use of natural materials, which, nevertheless, are still subjected to extremely technological treatments, translates into the understated, simple naturalness of this look, which in terms of imaginary, is expressed by the need to explore fairy tales in the hope of finding a simpler alternative to the hectic complexity of contemporary life. The imagination and more emotional components are expressed on the level of the surfaces, modulated with plissé effects, and by surprising forms that create unexpected effects, playing with the proportions of clothing items that tend to conceal the silhouette, making it appear almost ethereal. Transparency, naturalness and a diaphanous quality are also the elements that distinguish the makeup and hairstyles that are inspired by this sensibility.
Among the labels and firms closest to this type of expression, we find Etro; we could also cite the work of designer, Yohji Yamamoto, whose press advertising campaign is inspired by all sorts of natural and fairy-tale themes.
The theme we have decided to term, Body & Beast, has played a major role in recent seasons, decreeing the definitive success of fur (as well as leather and animal hair) in both men’s and women’s fashions. In order to understand the variations in function of this material, which - since time immemorial - has been perceived as a symbol of wealth and luxury and as an emblem of status and a prerogative of the older generation, it is necessary to analyze the new aesthetic and psychological components involved which are changing the way it is used. The most interesting new development in terms of how leather and fur are experienced is in their role and value as a second skin, with a more understated, less showy approach. Fur is thus attached to accessories like shoes and bags as trim and used on a more everyday basis, more for its value as a symbol of warmth and protection than for its luxury or prestige value. The textile industry has seized the opportunity linked to this area of sensibility, using fur like a fabric and thereby revolutionizing the perception of this material. Some highly illustrative examples of this phenomenon are found in the work of the yarn manufacturer, Filpucci, which features a yarn that is woven from animal hair, and the Versace company, which has woven strips of fur into a fabric.
» Environment dressing by Rosanna Cinque, July 1998
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