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Article in Fashion Theory The Journal of Dress Body & Culture · February 1998
DOI: 10.2752/136270498779754489
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Alison Gill
Western Sydney University
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Deconstruction
Fashion: The
Making of
Unfinished,
Decomposing and
Re-assembled
Alison Gill Clothes
Alison Gill teaches in the Dept. Introduction: Deconstruction "In Fashion"
of Design Studies, University of
Western Sydney, Nepean. She
is also finishing a PhD in the The term deconstruction has entered the vocabulary of international
Department of Fine Arts, fashion magazines, a label associated specifically with the work of Rei
University of Sydney, titled
"Styling the Body."
Kawakubo for Comme des Garçons, Karl Lagerfeld, Martin Margiela,
Ann Demeulemeester and Dries Van Noten amongst others, and more
loosely used to describe garments on a runway that are "unfinished,"
"coming apart," "recycled," "transparent" or "grunge." The same
characteristics are referred to by the French as the style "Le Destroy"
("La mode Destroy" 1992; O'Shea 1991: 234), confirming for many
who read the forms appearing on Paris runways as a literal disniantling
26 Alison Gill
she can see clear points in the history of Modernism where a shared
language has made a conversation between these practices possible (see
McLeod 1994). In fact, the garments of designer Martin Margiela, a
graduate of the Antwerp Royal Academy of Arts, and identified by
Spindler (1993) and Cunningham (1990) as a leading proponent of
"deconstructionism," appear to share with deconstructivist architecture
a point of connection around the analytics of construction. Margiela
sells linings extracted from recovered "vintage" dresses, giving these
linings a chance of a new-old life "on the outside," that is, as lining-
dresses in their own right (see Infra-Apparel for example). His dresses
are made from mis-matched fabrics, lining-silks with jerseys, and one
can see the inside mechanics of the dress structure—darts, facings, and
zippers. Or old jackets have been re-cut, tacked, sewn and re-detailed,
their seams and darts reversed and exposed to the outside. Accepting
that a seamstress or tailor performs a certain labor of "outfitting" bodies
and giving them an enclothed form, a labor stitched inside as the secrets
of a finished garment, a secret that is kept by the garment itself as it
performs "seamlessly," Margiela literally brings these secrets to its
surface.^ For Margiela, the garment is an architecture that "fits out"
the body, and thus he shares an architectural inquiry into the process
and mechanics of construction. Martin and Koda (1993: 94) very simply
state the paradox of these clothes when they write "destruction becomes
a process of analytical creation."
A designer like Margiela appears to have something to say about the
operations of clothing as a frame for bodies and, potentially, the
influences of fashion, as a mechanism, structure or discourse, that is, as
(invoking Roland Barthes) a "fashion system" with vast cultural,
economic and ontological effects. By fashion system, I mean the industry
and its supporting infrastructure (media, education, economics, cosmetic
and pharmaceutical industries, politics, technology, sports sciences) that
bring regular changes to men's and women's clothes and bodies. Like
Anne Hollander, I observe that these changes arrive by way of the name
of "Fashion" in the media and designers' collections, worn first by "star"
bodies on runways, in a continuing flow of new commodifiable themes,
gestures and styles; fashion "is now the general modern condition of
all Western clothing" (Hollander 1994: 11). Yet we must also acknow-
ledge the immaterial domain that has arrived with the material forms
of fashion and extends its effects beyond clothing; fashion both designs
and is designed by an empire of signs that propel and commutate at an
ever-increasing speed, a domain into which we are all interpellated as
"fashioned people" whether we like it or not. The empire of signs that
fashion plays amidst is a kind of vertical world of unending perceptual
expansion. Within this empire, a world that eludes measurement and
the language of systems, our bodies come to (trans-)form and are
repetitively styled and styling across lived domains both spectacular and
mundane.
28 Alison Gill
Significantly, clothes do not have, and never have had, a singular origin,
meaning, or function. There are two points here: one is that decon-
struction is, in a certain sense, "dressed up" (or "dressed down") for
its application to the field of fashion, and secondly, in proposing that
fashion is a representation of deconstructive thinking it might be
presupposed that fashion has a prescribed function, or worse, as if
fashion were not already on a philosophical ground, that it is unphilos-
ophical and unthought. This latter presupposition entertains a thinking
that a theory has been inappropriately, awkwardly, or insensitively
applied to an (untheoretical) subject; that is, it is thought an inappro-
priate mixing of "light" with "heavy." This criticism appears to resent
fashion being thought of as philosophical and constitutes a refusal to
think a "ground" of fashion where new stakes can be introduced.
(Un-)dressing Deconstruction
Now we can begin to draw out the implications of the fashion media's
announcement of deconstruction fashion. Both Spindler (1993) and
Cunningham (1990) imply that an ontology exists prior to the
manifestation of deconstruction fashion, suggesting that the style plays
no role in the construction of such an ontology. To repeat, firstly,
Cunningham suggests that European social and political conditions exist
and deconstruction fashion is a cultural response to, and expression of,
these conditions. Cunningham, against his own position as a fashion
writer, would seem to deny the importance of fashion as constitutive of
a Western ontology, an evolving social fabric of interrelating cultural,
political and economic forces. Secondly, Spindler proposes that decon-
struction is a phenomenon particular to the discipline of philosophy
which is then merely applied to fashion, whereby deconstruction fashion
is presented as an expression of ideas originating in philosophy. As in
Cunningham, Spindler would seem to suggest that fashion is always a
secondary effect of an originary position. In Spindler's case, this originary
position is the position of the philosophical, reflective subject, in this
instance Derrida as the "founder" of deconstruction, who produces a
deconstructive mode of thinking. For Spindler, then, a split is introduced
and sustained between fashion as a domain of expression and the field
42 Alison Gill
Notes
I would like to thank Anthea Fawcett, Freida Riggs, and Abby Mellick
for reading this article and providing both insightful comments and
encouragement.
12. For examples of Derrida's writing on art and literature see Derrida
1987 and 1986. For an exposition of Derrida's involvement and
reception in the "spatial arts" see Brunette and Wills 1994. What
becomes evident from the analogy of a dialogue or economy of
exchange is that these writings cease to be simply either about
philosophy or about visual arts but about both: that is, there would
be no pure theory, pure art or pure literature as a priori terms
constituting an origin or end point of the exchange. Yet, neither
would this exchange have to drain each discipline of its differences
of language, concepts, and practices. See Norris 1991 for an
exposition on the reception of Derrida into literary criticism circles.
He argues that it is only on the basis of a longstanding hierarchy
and prejudice that Derrida can be criticized for trying to reverse
this hierarchy and elevate literature, rhetoric, and artful style above
philosophical reasoning and serious argument (thought to be
incompatible with rhetoric). This criticism, still prevalent among
Derrida's detractors who argue he is not a philosopher but a literary
critic, largely chooses to miss the point of re-examining this
hierarchy.
13. The operations of metaphysics have been described by Derrida as
an economy, from the Greek (o/^o5), for house. Giving further
resonance to the notion of a structure or architectrure of Western
metaphysics, its operations are those of a domestic economy that
ensures and regulates continuous exchange. In sum, Derrida wants
to open up this economy to a thinking of the uncanny and alterity,
that is, the bizarre homeless guest never allowed to settle in the house
of metaphysics.
14. See Weber 1987: 42-5. Weber has proposed that the arrival of
Derrida's philosophy in America has been mediated by the liberal
"universalist ethos," a tradition ingrained in the American university
and institutional intellectualism, making it profoundly different to
the French positioning of the university and intellectualism. Weber
argues, deconstructing the features of deconstruction's reception,
that the tradition ofthe American university institution has strongly
regulated its inside as a safe place of pluralist debate. The disciplines
Deconstruction Fashion: The Making of Unfinished, Decomposing and Re-assembled Clothes 47
References