.. anonymous note_

 

. the topic in the fourth issue of ANUHNIm magazine is REPRESENt_

. this issue will explore the representation of diversity in fashion and the change on how we view clothes in a range of contexts_

. the typical major threads are racial diversity, body types, gender and sexuality and class demographics_

. this issue will explore the ideology and symbols of clothes and the shifting power of influence_

. the topics are the same as before_visual opinion, attitude, belief, feeling and perspective_

. we still hope to generate dialogue and colour about who we are as beings_

 

_

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NYMPHISm_

Clothing is one of the most personal objects we interact with and rely on for almost every moment of our lives. And our relationship with clothing is so complicated. It does many things for us.

 

 

It expresses who we are

how we want to be percieved

how we protect ourselves

how we represent our values

which groups of people we relate to

where we come from

our artistry

 

 

and how we want to make our bodies look

 

Clothing and the body is a very controversial topic in fashion. There are constructs on clothes that define gender, occasion, value, class and visual presentation including the bodies we see clothes on. When it comes to the body in fashion there hasn't been much change besides the label "plus size." However reality is setting it and we are beginning to see a more complete spectrum of body types in literally all ages, shapes and sizes. A movement in fashion has begun being based on and in reality. Runway shows from a variety of forward thinking designers are showing a wide range of individuals with differing body types and with personality. What will be the potential of having more people be visually recognized in a very visually communicative expression that is fashion? When the degree of how the body has been fetishized becomes expanded what becomes the possibilities of something as complex in meaning as clothing? Nymphism is looking at the body in its most natural forms and how clothes transform, hide and show the body.

 

_

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.. anonymous note_

 

. the topic in the third issue of ANUHNIm magazine is TASTe_

. this issue will explore ideas of Taste and the concept of good taste and bad taste_

. as fashion is in a constant stage of flux how has the concept of taste evolved_

. this issue is hoping to explore how the changing architecture of the fashion system has effected the "who" as the viewer and as the influencer_

. the topics are the same as before_visual opinion, attitude, belief, feeling and perspective_

. we still hope to generate dialogue and colour about who we are as beings_

 

_

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BAD TASTE GOOd/GOOD TASTE BAd_

Taste in fashion has always been a fickle concept as it deviates from individuals to cultures to time and age. Today fashion is spread far with the social connectivity of technology bridging all the different people from everywhere. And everyone has something to express about fashion whether it's verbally or visually. So where does that leave taste? Are we good enough with all coexisting with each other's bad choices? Is there really a utopia in fashion? Are we living it right now? Or is this the version of fashion hell? Either way we celebrate the concept of good and bad taste because as the saying goes who came first, the organic grain-fed chicken or the free-range egg?

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GUTS AND GUILELESs_

Ever since Miuccia Prada launched ready-to-wear the notion of taste has changed in fashion. There have been many designers before her and after her that have made an impact on fashion but nothing has created such a powerful idea of "what is ugly?" as the Prada collections. There have been so many iconic moments, ensemble, accessories, prints; using this theory that has made a mark in fashion history. But she has done this by making fashion modern and relevant to the rest of the social world without making her clothes comical, but actually serious. Still, Miuccia's designs may not be for everyone. But that is exactly the point. She is merely laying out the groundwork in fashion to ignite into shockwaves of social movement. Today in the fashion world that has expanded to extreme proportions, Prada still seems to create it's own views and paths where others play safe and struggle to stay relevant. This editorial explores what is taste through styling using Prada._

 

 

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WEST COAST FLAVOUr_

Why is it hot on the west coast? Hot meaning the major focus on all things people are lusting for. The west coast has recently become the new hotbed for how to live and dress especially to fashion. This lifestyle focuses on bringing “happy” back. Happy in the way people are allegedly improving the way they are “looking” and ”living” thus resulting in being happier. Naturally though when the climate includes more sun, the environment includes more trees and vistas and the diet more scientific, its hard for this not to affect a way of living and thus adapt a uniform for this way of life. This uniform consisting of technical outdoor gear to workout gear mixed with a casual hippie vibe hasn't always been seen as chic or appropriate wear. However is this because this look is something of a new segment or subculture that has never seen much ad space in the fashion world much like the way streetwear started and slowly creeped onto the runway. As of the past few seasons, designers have started to incorporate these ideas more and more into collections from all the big cities showing technical/outdoor wear and clothes which are loose and airy and made to be active and comfortable. There is becoming less of a division between fashion brands and sports brands or sport divisions of fashion brands and also less of American sportswear and more technical active hippie. This utopic kinda style is effecting how we look at fashion and clothes in a big way that may or may not become a style that is lasting or nomadic._

 

 

 

 

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THE MORAL OF TASTe_

Taste, both good and bad, is always a central point of conversation, and point of contention in the fashion world.  There are unlimited perspectives and the rules are constantly changing. David Hume, who wrote “Of the Standard of Taste” in 1757, is one of the earliest scholars on the subject.  His contemporary Immanual Kant also contributed heavily to the way taste is thought about today.  Even before Hume and Kant published essays on taste, each culture had their own taste makers, it is a tradition that continues today.  From the salons in Paris and London, to the anti-establishment movements of the Surrealists and the Bauhaus our standards of taste are always being criticized and rewritten.  

 

 

On the topic of taste there are two opposing sides: maximalism and minimalism.  Examples of these opposing schools of thought and practice exist in every application of art and design.  As far back as Hume’s writing, there has been a direct link from minimalism and “goodness” or a higher ethical code.  It is a sentiment that continues today.  Minimalism is akin to cleanliness and moral superiority, as well as a more refined and educated intellect.  From the viewpoint of the minimalists, maximalists are ignorant, in bad taste, and wasteful.  The take on minimalism from a maximalist standpoint is that they are uptight, no fun, and boring , so far as to say ugly.  The minimalist however, does not care what the overly preened maximalist has to say, they have moral and intellectual superiority, given to them by Hume and Kant and perpetuated by Adolf Loos.  

 

 

Fashion also has its own cast of minimalists and maximalists, designers of good taste and proponents of bad.  The old saying “Money can’t buy taste” is proven again and again, as evidenced by Roberto Cavaili’s thriving business, and the success of socialites like Paris Hilton and Kim Kardashian. On the side of bad taste, yet intentionally so, Jon Waters made an entire career of collecting and curating all things grotesque, kitsch, and socially unacceptable; even celebrating them in each of his movies.  The difference between the socialites listed above and Jon Waters, is that Mr. Waters built his aesthetic knowing full well the difference between good and bad taste.  In the fashion world it is the same.  Prada, for example, is a design house that is credited with curating and perpetuating good taste, while Vetements attacks the values of good taste and works to re-establish the vocabulary, both houses, however, know the dialog.  Vetements repurposes familiar un-fashion clothing and reinvents it from a fashion perspective.  Not a complete departure from the conversation that Duchamp instigated when he placed a urinal inside an art gallery in 1917.  Like Duchamp, Vetements is creating a commentary on the current state of their industry.  They are also fine craftsmen who understand how to manipulate pattern and proportion, this is why they are able to criticize and and question “what is fashion?”, “what is good taste?” in garment form.  And while minimalists might scoff at the designs, they can respect the concept behind it because it is clearly backed up with a strong knowledge of what came before and what is happening now.

 

 

In today’s marketplace where fresh off the runway pieces are immediately available at H+M and Zara, the future of good taste in fashion is in question.  If minimalist design remains truly linked to “good taste” and a high moral code, then all fashion trends whether they mimic minimalist design or not, actually belong to the latter group of maximalist design.  In a trend driven society where more and new take precedence over quality and less, we are doomed to consume total crap.

 

 

However, the threat of bad products doesn’t stop with over consumption.  When a company steals a concept straight from the hands of a designer and waters it down for mass consumption, we the consumer miss out on the context of the design.  The history is lost completely and the dialog falls flat.  When there’s only surface and no substance, no thought, it’s the end of taste all together._

 

 

anonymous_

 

 

 

 

 

 

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What can you remember from the thousands of shows you have seen? what stands out? this is what we remembered. this is what stood out. this is the 101 of fashion taste._

 

 

 

 

 

 

 

 

 

 

 

 

 

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PRADA_

SS96

Unsexy is sexy. Mundane is major.  Uniform is queer. The queen of ugly-chic. No show is a repeat of the other. Nothing is off limits. 

 

 

GUCCI BY TOM FORD_

FW96

The after-haze of the louche, vulgar and powerful encounter between a man and a woman wrapped in sleek luxury sold. And sold well. The whip-smart kid from Texas who took the staid concept of global fashion to the next level, Tom Ford is the dominatrix of fashion. Everything designed under his unerring gaze from clothing to furniture smoldered…..and sold….and sold well.

 

 

DOLCE&GABBANA_

FW96

HEY MAMBO!!!!! No one does the Italian widow, exposing her webs of racy lace and body-con lingeries under cherry printed 1950's car coats quite like Dolce and Gabbana. You could taste the gelato, smell the linger of chianti-rimmed lips as you watch those jewel embellished, ermine trimmed collections that speak to the very best of Italian va-va-voom.

 

 

HELMUT LANG_

FW97

+

CALVIN KLEIN_

SS97

The Austrian who put white lacquer all over Soho, Helmut Lang beautifully mixed nylon with lace and feathers with rubber in a way that was razor sharp. And it was real and fierce and modern. Everyone thought they knew what the wardrobe of a modern woman should look like on the hard streets of the mid 90s. They were fuckin’ wrong. Then, nearly 2 decades later, Lang went ahead and burnt his museum-worthy archive to the ground to make art. That is what a master of modernity does. They move on. 

 

Swift, lean, sharp, graphic and unapologetically simple. That was Calvin. That was New York City. Nowhere else. CK was young, raw, genderless and coy. That was global. That was epic. 

 

 

YOHJI YAMAMOTO_

SS99

Ripping apart and mending the couture techniques of the establishment, Yohji terrified the rarefied world of 1980's Parisian fashion. WTF was an understatement. He’s paid the purest of homages to the heritage of french fashion, yet he is still the king of the avant-garde. The gallery fashion boutique was born.

 

 

COMME DES GARÇONS_

FW16

+

JUNYA WATANABE_

SS14

Rei Kawakubo did it her way. Raw, real, tattered and torn. Upside-down and inside-out, It was above taste and fashion. And we bowed down in unanimous honor to a woman who simply rose above the very notion of design itself. It’s not art, but it’s an artistic expression of a rarefied form. Long may she continue! 

 

Rei Kawakubo’s most loyal disciple, Junya Watanabe was allowed to stand on his own under the protection of CDG. But he didn’t need hand holding. Mr. Watanabe reached out to a whole new generation who worshipped the Japanese tradition of deconstructing history without making any references to the past obvious. Brilliant, conceptual, and utterly wearable, Junya carries the torch.

 

 

CHLOE BY STELLA MCCARTNEY_

SS98

Victorian, sexy, snobby and easy. Spoiled little rich girls got to hang out backstage with the big boys in Stella McCartney’s Chloé. This girl could hang out at her grandmother’s estate in Sussex and just as easily traipse off to the council estates of East London looking for a good shag. But she always came home to her privilege the morning after. And that was cool.

 

 

RAF SIMONS_

SS04

+

DIOR HOMME BY HEDI SLIMANE_

FW05

Hedi Slimane and Raf Simons have very different styles, but they mine from similar wells. No one could have had their eye on the new, emerging youth culture of the backstreets of LA and throughout Europe as keenly as these two designers. They scoured the bleakest of suburban towns, to feed their hunger for the new male, and put their vision on the backs of these kids. The new, skinny suit and the oversized and disheveled sweatshirts hung beautiful on the techno skinheads we are scared to ride the metro with.

 

 

Y3_

FW17

+

ADIDAS BY STELLA MCCARTNEY_

SS08

Urban tech gear to match the landscape of the street, mixing luxury with hip hop style, Y3 & Adidas by Stella McCartney turned the active lifestyle on it’s head. They gave the bourgeois something to finally wear.

 

 

RICK OWENS_

SS17

Rick Owens sometimes gets misinterpreted as the master of melodramatic interpretations of the goth aesthetic. But his woman is a fragile warrior. She wraps herself in sheathes unlike that of a Mad Max cult follower. It's more reconstruction than deconstruction; it's a new way of looking at a warrior, who's fragile interior you'll never get to see.

 

 

 

DRIES VAN NOTEN_

FW96

Good ole' Dries. The maverick of cultural appropriation, his "Room With A View" take on luxurious, ethnic wear is legendary. He romances the well-traveled bourgeoisie society of Paris's left bank with his antiqued, "rose-coloured" lense view of romantic journey. And that's all good from everyone's perspective, because we all want a piece of that view.

 

 

CRAIG GREEN_

SS15

Disciples of Craig Green's anarchic yet fragile urban vision are growing in vast numbers. He has taken elements of fragility mixed with a primal hardness that is not for the faint of heart. His men are pilgrims in search of a new way to survive in a technological wasteland of urban decay. It's a bleak story, but it's told beautifully.

 

 

J W ANDERSON_

FW13

+

WALES BONNER_

SS17

JW Anderson fucked with masculinity in a way different to many of his young contemporaries. It isn’t exactly about feminizing masculinity, but the perversion of it. Using historical flourishes in a hard, edgy and at times bleak way, J W didn’t necessarily shock London fashion, he allowed them to exhale. Because they’ve been waiting for someone like this for a long, long time.

 

 

Grace Wales Bonner is making a strong case for the ‘New Romantic’ male aesthetic. Peppered with genderless and ‘pretty’ tailoring, her clothes invert ideas of tasteful masculinity that challenges. Her take on such challenges, particularly cultural and sexual stereotypes of masculine men is cautiously reined in and beautifully supported by a superb understanding of cut drape. Bravo.

 

 

VERSACE BY DONATELLA VERSACE_

SS00

SEX SELLS! THE HOUSE OF VERSACE SOLD IT! Then Gianni was gone. Donatella, the "maitresse en titre" of Versace, was lost. But after a few seasons of good but contrived efforts, Donatella came through with a collection that celebrated the trashy-chic of the flashy, Italy/Miami style. She made vulgarity desirable on a level we’d never seen. She fell down, got up, and showed up. She was honest. And the clothes sold again.

 

 

MAISON MARTIN MARGIELA_

FW02

Iconoclastic. twisting bending, folding, REMOVING. father of VETEMENTS and the new BALENCIAGA. Reforming, deforming and informing us on the language of new style, new fashion.

 

 

VETEMENTS_

FW17

+

GOSHA RUBCHINSKIY_

SS17

+

BALENCIAGA BY DEMNA GVASALIA_

FW17

IT’S NOT APPROPRIATING BUT COLLABORATING WITH THE “CHAVVY” ICONS OF STREETWEAR! These designers threw the stereotype of prejudice, poverty and isolation back in our faces, and made us pay a lot for it. IT’S BOURGEOIS, IT’S GHETTO, IT’S ESTABLISHED.

 

 

 

 

anonymous_






 

 

 

 

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.. anonymous note_

 

. the topic in the second issue of ANUHNIm magazine is LATINo_

. just like the first issue ANDROGYNy this issue will explore ideas of what is LATINo within fashion and the images that envelops our culture_

. as always when focusing on a subject that is race or nationality especially in fashion there is an underlying smoke that brings up a lot about who we are and what we believe_

. this issue is hoping to extent dialogue regarding fashion and culture and open the envelope that is the Latin American continent_

. the topics are the same as before_visual opinion, attitude, belief, feeling and perspective_

. we still hope to generate dialogue and colour about who we are as beings_

 

_

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HOUSE ARRESt_

The "Cuban Thaw" between Cuba and the U.S. has brought attention to this fierce island in the south. With the spark of the Chanel Resort 17 runway show there is a pending blaze of youth culture due to be ignited by the new generation of this Latin giant. 

 

 

in collaboration with

j - s . online launching Fall of 2016

@shopjs.online

 

 

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INSTAPORTRAIt_

A fresh voice is coming out from a new generation of boys and girls from the silent giant that are South Americans. This voice is adding perspective to the global youth culture just by the way of exposure of their daily lives on none other than Instagram. This app through our small screens has had a range of effects on our psychological visual expression from normalizing the kind of images we see that are raw, unedited and extremely personal to the thought process of determining which images are post-worthy and their social consequences. As a digital tool to capture the zeitgeist of the moment these images can create pure movements based on a scattered group of individuals who may never meet nor know of the other's existence but separately create buckets of ideas that spawn fresh perspectives and begin new social patterns. One cultural shift making a splash is that of South American youth. To clarify we are talking about the kids living within a South American country and also ones who have South American roots living outside the continent. These youths ranging from fashion models, skaters, musicians, stylists, artists, designers and activists have their audacious voices coming to the forefront of visibility influencing the thought, behaviour and actions of a larger audience. The avenue these kids are penetrating is through the streets. Just like other movements that started in the streets before it, the hip hop urban culture of America, to the minimal clean line mixing thrift culture of Scandinavia, the movement of street culture for South American youths are generating a style and momentum that is based on the notion that these revolutions happen within the streets is happening the same way on Instagram. These influences are visible on their individual unabashed Instagram feeds with their own style of self portraits, hang outs and minute daily moments that resonate with the reality that we all experience. The strongest notes coming from this noise stem from music, fashion and sports. Most notable is in fashion where their style is a mixture of sportswear meets carnival meets street. The huge influence of sports with iconography like the Adidas strips, Nike swoosh and Umbro diamonds on jerseys, tracksuits, windbreakers and soccer shorts are mixed with the brightest hues, boldest patterns and the most decorative accessories that are inherit in the costumes and palettes of the Latin history of celebration and dance. These outfits are the costumes of a modern carnival of street life.

 

Focusing for a bit on the youth living in South America and living with the constant battle for social, political and economical equality these kids are making a huge push against the old traditions while still keeping the essence of their history and culture. Skate culture has been a major part to this “rebellion” like in the many cities before it. Similar to the skate capitals of New York, LA and countless others, skateboarding creates a members only mentality that develops a mystery and being illegal in most cities has an air of disobedience creating an allure. Right now in mainstream fashion skateboarding and skateboarding brands are the big trends making the power of these South American youth all the more potent. Perhaps the rebellious nature of skateboarding relates to all the major political, economical and social shifts happening around the world with Brexit shaking Europe, the possibility of Donald Trump as president in America and the rise of Asia as a super power the message is mutiny. In this southern part of the globe these skaters in Cuba, Mexico City and others have been carving out it's own identity and with the access of Instagram are baiting the rest of the world with their own unique style and tricks.

 

One huge visual coming out of these skaters are the young girls who are carving new paths where equality between males and females is still unbalanced. In a sport that is dominated by boys with the added weight of the old traditions within South American culture these girls seem fearless and determined to balance out the playing field. From the few girls making a splash in the skate world to pop stars creating their own fresh sound to models shifting the face of beauty in the industry these female figures are influencing change to how girls are perceived in South America and within the community. Taking the famous line “Whatever will be will be” of the youth in Mexico, Cuba, Brazil, Argentina and others who are making a push for change to what is the future identity for South American culture and the residue from this movement is an influence on culture around the world.

 

As a celebration of these youth we have immortalized some Instagram selfie's into portraitures.  We here at Anuhnim want to celebrate by creating hand drawn portraits of some of the inspiring kids we see on Instagram.

 

anonymous_

 

 

 

 

 

 

 

 

 

 

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PARADISE DECo_

Accessories have always been the extra detail of an outfit. This is especially evident in South America where costume jewelry comes from a long history associated with dance and celebration that has continued into modern style. Paradise Deco looks at separating the clothes and the context from jewelry and look at what costume jewelry does to the body. 

 

 

 

 

 

 

 

 

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.. anonymous note_

 

. welcome to the first issue of ANUHNIm magazine_

. the first theme is centered around the idea of ANDROGYNy_

. exploring the conversation of ANDROGYNy within the culture of image and fashion_

. ANDROGYNy / is the combination of masculine and feminine characteristics_

. exploring visual opinion, attitude, belief, feeling, perspective_

. hoping to generate dialogue and colour about who we are as beings_

 

_

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MEET IN THE MIDDLe_

So what is androgyny? By basic definition androgyny is having both masculine and feminine characteristics. In the world of western fashion, clothing is used as a tool to create images around current trends by designers and market taste makers, a translation and metamorphosis of the intellect to the visceral, bound by the anonymous subconscious. In recent social shifts, trends and styling have been mixing menswear into womenswear and vice versa with a liberalness around gender stereotyping. Menswear more recently has plunged into showing silhouettes normally only acceptable in womenswear such as the skirt, tunic and blouse. These items haven't been overtly assimilated with what is traditional in menswear besides historic cultural references (think the Scottish kilt, the Muslim thobe and the Indian sarong) but instead latched onto the outer core within the visual codes and language of masculinity in the Western world. This is much in the same way that womenswear has normalized traditionally menswear specific pieces into it's spectrum of socially acceptable styles. But beyond the fantasy of the runway shows and editorials the more intriguing allure of androgyny is the transformation of the person underneath the clothes. In current men and women's runway collections, designers have used more and more neutral, epicene female and male models whose look, is that balance of visually puzzling and naive. Male models especially have exploded onto the world of menswear where strict societal traditions in masculinity are slowly being deconstructed and updated. Designers are showing a new image of models, reflecting a section of the latest generation who interchange and amalgamate between street, underground and bohemian. These youth express a freedom with gender in their visual self expression disregarding any connection with social acceptable confines with clothing, styling and/or gender ideology. The factors that surrounds gender experimentation and general questioning of social expectations range from the revival and reference of past movements in punk, hip hop, hippies, skaters and so forth combined with the current powerful evolution of feminism and the liberation of sexuality. What makes this new “gang” more precarious is how they are mending all these avenues and birthing a new ideology that blurs our past to evolve into our future.

 

 

So what are the multiple layers that factor into this evolution of gender?

 

How will this evolve to look in the future?

 

Will this reach contemporary culture?

 

 

The image of adolescent men and women in our visual scopewho define androgyny, have spread throughout and onto our streets with more of a force rather than playful sarcasm. A reinterpreted style of clothing and hair that embodies gender neutral is challenging what has been typified to gender. This look has a self assurance yet an insecurity that is programmed in the discovery of identity in youth which echoes the residue of the hyper sexualized traditional masculine/feminine side of media culture we see at the opposite end of the spectrum. So then what are this tribe's ideals? Is this generation's self-expression trying to say “I don't give a fuck about defining who I am?” as a defiant protest to the majority of culture that have succumb to gender tradition and standards? This tribe of frail shapeless men and women have so much visual power and influence that the permeation into contemporary culture has the potential to be viral! As gender freedom visually evolves and spreads, what would happen if the existence of gender disappears? What are the new ways of expressing ourselves without the history of masculinity and femininity? Imagine walking down the street to a sea of people where gender is undefinable and the connotation of clothing is missing. The thought of this is eerily exciting when and if, fantasy blurs into reality.

 

anonymous_

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Plato's Symposium . Athens . 416 B.C. . Aristophanes Speech_

Excerpts

[ Each of us when separated, having one side only, like a flat fish, is but the tally-half of a man, and he is always looking for his other half. Men who are a section of that double nature which was once called androgynous are lovers of women; adulterers are generally of this breed, and also adulterous women who lust after men. The women who are a section of the woman do not care for men, but have female attachments; the female companions are of this sort. But they who are a section of the male follow the male, and while they are young, being slices of the original man, they have affection for men and embrace them, and these are the best of boys and youths, because they have the most manly nature. ] 

 

[ And such a nature is prone to love and ready to return love, always embracing that which is akin to him. And when one of them meets with his other half, the actual half of himself, whether he be a lover of youth or a lover of another sort, the pair are lost in an amazement of love and friendship and intimacy, and one will not be out of the other's sight, as I may say, even for a moment: these are the people who pass their whole lives together, and yet they could not explain what they desire of one another. For the intense yearning which each of them has towards the other does not appear to be the desire of lover's intercourse, but of something else which the soul of either evidently desires and cannot tell, and of which she has only a dark and doubtful presentiment. ]

 

[ This, Eryximachus, is my discourse of love, which, although different to yours, I must beg you to leave unassailed by the shafts of your ridicule, in order that each may have his turn; each, or rather either... ] 

 

PURSUIT OF THE wHOLE . THE SPEECH OF ARISTOPHANES_

 

. humans – male/male. female/female. male/female_

 

. human origins – male/male – sun. female/female – earth. male/female – moon_

 

. act 1 . beginning – humans were attached back to back making them twice as strong as they are now. They threatened to attack the gods_

 

. act 2 . middle – Zeus created a plan to cut humans in half to divide their strength and double the population. Their heads were turned towards their wounds which were healed by stretching the skin creating a stomach and left the navel as a memorial of their treachery. Humans started dying longing to connect to their other half_

 

. act 3 . end – Zeus decides to turn their genitals to the front so they could find pleasure when embracing with their other half and the androgynous male/female humans would reproduce_

 

anonymous_

 

 

 

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ANDROGYNY THE REPEATING LINe_

The middle, it’s always been a place of comfort within the world of fashion, of defining styles and within art more generally. The middle is the point when the world realizes something is worth investing in, looking in to and accepting. How was the middle formed though, what creates the middle and more importantly how does it change? From the Greeks to the Indian civilization, the Chinese and South America, each period and place in history defined the middle and the middle was rigorously maintained for, in some cases, a millennia. Notions of gender and sexuality have at times been just as rigorously maintained and well defined, however androgynous art and fashion is not just limited to the 20th century, the concept has always been a part of the conscious, self-thinking human, albeit at the edges, in the shadows, implicit and indirect, masked by tradition and dogma.

Is fashion a product of the middle, an afterthought of economics, of religion (or lack of), of a small subset of influencers motivated by fame and fortune to possess more of the vast and established middle? Or is fashion and style always in motion a movement of the edge flowing into the middle, whilst the middle is pushed out left to rot and fall into an abyss of nothingness. Is the middle fluid in movement, like the hot air rising, replaced with cooler rushing air to replace and freshen the funk left by too little movement? One thing is true though, the arts have always been a constant and continuous play between gender, sexuality and the associated forms. To look at the history of the middle in terms of gender and sexuality is to realize the world of fashion was never constant and should never remain so.  

In the beginning was the word and the word was the middle, but change occurs through interpretation and interpretation comes from the edge and replaces the middle. It’s an inevitable consequence of life, of continually recognizing the "new" and reinterpreting the middle. It’s what must be done in order to facilitate the human experience, which inevitably forces the middle to change. Most early civilizations, had a style unique to themselves, a blurring of sexuality and sexual practice, there was the female there was the male, each separate and unique but blurred by looking past fixed definitions of male and female. This translated into a hybrid of not only passion between male and female form, but also defined style and form. The middle was truly androgynous, nothing but the focus of the creative mind.

The inevitability of change means that the middle is always replaced. What causes this? Is it a sort of boredom that facilitates the process of change, even when there seems to be apparent harmony between form, style, fashion and associated ideas related to gender and sexuality? The middle within the medieval ages, for example, replaced style with an anti-style or no style. There was no room for anything material. Gender and sexuality refused to be acknowledged stricken from the mind, hidden away. All became lost, an abyss of darkness enveloping the closed mind. However, even as the middle was dark the edge remained alert with possibilities, gender and sexuality was very much alive, observing the middle, waiting for a moment, any moment. The creative mind demands to be recognized.

An alluring sound, the belly dancers, the turban, the bewildered priest forced together, redefining a new form, an amalgamation of many edges coming together to praise the human spirit. Technology and discovery of exotic lands allowed new ideas in arts and fashion to replace the dead middle, it’s only thru the arts that new ideas can stick! The impact, in the 14th century, for example forced changes that would impact fashion and style. The Arab face to face with the female dancing form of the Margi, the naked Animism of central Africa introduced to European Spain, everything was the edge, the male and female form was unhinged and left bare in all its vastness. An anarchism of cultures unhinging gender and allowing an underbelly of fashion and art to flourish, a melting pot of style manifested in the blurring of gender and sexuality that couldn’t be controlled, The singer both the seducer and the seduced, a new middle - intoxicated by words, the poet, the mystic, the bustling city, the middle confused, looking out, weighing up the tide of edginess, trying to understand it, being reformed and reevaluated, pushed aside. This would allow the onset of the modern world, a world pushed to the edge, defined by science and made accessible by the arts.

In an infinite number of universes, there is no middle, there is no truth, and there is no form. It’s a product of the human experience. This was the edge, festering, thinking, the scientific method. Along with it came the destruction of the God's, replaced by the mechanical form, the new edge, the new middle, the all prevailing. The west was here to stay. Fashion and style moved much more quickly, a whirlwind of many minds, God's unto themselves. The middle was being replaced, with the cold iron thud of "progress". The creative mind always finds ways to flourish and so it did, in the background at first and then complementing and then defining the outer, the machine abstracted away into the background. An emergence of the individual in all its glory and hateful love. There was no definition of form and style, from the abstract to the absolute and everything in-between, it was all possible, in an infinite number of universes all forms, all styles all ideas are possible. The blurring of ideas from the male form to the female form, masculinity, femininity, the conscious mind, all the possibilities, endless. Fashion, style and Art in general is moving much faster, the slow turning of the tides, becoming an Al-Niño, what does this all mean, where will it end up? Nobody really knows, but that's the beauty of the journey, the curious and infinite mind. 

 

anonymous_

 

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FUTURE FACEs_

Since fall fashion has ended and we are entering spring we took a look at what the upcoming season may look like and how androgyny might evolve with the youth of today and the spring men and women's collections. Androgyny has a face and we took the sculptures of our past as a study based on the visual impact it has on our ideals of beauty today. With colour or decorative features removed sculptures from the past take on a blank state where we can more or less add or in this case question gender definition. The questions we asked were based around the themes of technology, nature, food, music and youth creating mini worlds where fashion and the future create an image of what things may look like._

 

. what will the future of androgyny look like for fashion?_

 

 

 

 

 

 

 

 

 

 

 

. what will be important to the youth of the future?_

 

 

 

 

 

 

 

 

 

 

 

 

. how will culture change or not change and what will stay and what will disappear?_

 

 

 

 

 

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