![]() In all three paths the idea is the epicentre for Chalayan’s inter-disciplinary design process in which he draws no distinction among the world of clothes, objects, images and spatial environments. In order to construct meaning, Chalayan develops three different conceptual paths, addressing social problems, symbolic narration, and/or phenomenological events. Chalayan has put up resistance against the image-oriented approach of the fashion industry through his conceptual attitude by deconstructing the meaning of the clothes to re-semantify them and change their ontology. By the end of the 1980s Hussein Chalayan had taken over the critical position of Martin Margiela, the pioneer of deconstructivism in fashion, through his controversial discourse and designs against consumer culture. However, the movement of deconstructivism has marked a critical era in contemporary fashion. In the homogenized environment of the global fashion system creativity and differentiation have almost been reduced into forms and silhouettes and clothing has been transformed into a commodity. Rather than standing in opposition to classic definitions of goth subculture or Gothic literary tropes, the cultural syncretism in today’s hip hop serves to revitalize and recontextualize the entire macabre genre, rendering it more inclusive of diversity and free from its characteristic restraints. Contrary to the authenticity-obsessed goth scene, this phenomenon can be viewed as momentary ‘Gothic drag’, or more in keeping with hip hop culture, as ‘aesthetic sampling’ that mirrors the long-standing tradition of music sampling in rap. ![]() From the ‘Ghetto Gothic’ fashions of A$AP Rocky and Mykki Blanco to the monochromatic macabre videos of Jay-Z and Kanye West, the sartorial signs of the doomed undead are now de rigueur in rap, and washes of reverb-laden guitar beneath mournful Anglo-European voices are no longer prerequisites for sepulchral style. Over the past decade, however, goth fashion has moved past its musical counterpart into ubiquity, stretch- ing its shadow-laced fingers across popular culture and into contemporary hip hop as artists incorporate goth aesthetics and Gothic literary themes into their expanding style lexicons. In stark contrast to the widespread popularity of the Gothic literary genre in the eighteenth and nineteenth centuries, goth music and goth fashion were largely relegated to subculture from their inception in the late 1970s.
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