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Aesthetic Politics in Fashion Elke Gaugele (Ed.) Aesthetic Politics in Fashion Aesthetic Politics in Fashion Elke Gaugele (Ed.)

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Aesthetic Politics in Fashion Elke Gaugele (Ed.) Aesthetic Politics in Fashion Aesthetic Politics in Fashion Elke Gaugele (Ed.) Publication Series of the Academy of Fine Arts Vienna VOLUME 14 Aesthetic Politics in Fashion Elke Gaugele (Ed.) Aesthetic Politics in Fashion Aesthetic Politics in Fashion Elke Gaugele (Ed.) Publication Series of the Academy of Fine Arts Vienna Eva Blimlinger, Andrea B. Braidt, Karin Riegler (Series Eds.) Volume 14 On the Publication Series We are pleased to present this new volume in the publication series of the Academy of Fine Arts Vienna. The series, published in cooperation with our highly committed partner Sternberg Press, is devoted to central themes in contemporary thought about art practices and art theories. The volumes in the series comprise collected contributions on subjects that form the focus of discourse on art theory, cultural studies, art history, and research at the Academy of Fine Arts Vienna and represent the quintessence of international study and discussion taking place in the respective fields. Each volume is published in the form of an anthology edited by staff members of the Academy of Fine Arts Vienna. Authors of high international repute are invited to write contributions dealing with the respective areas of emphasis. Research activi- ties such as international conferences, lecture series, institute-specific re- search focuses, or research projects serve as the points of departure for the individual volumes. With this book we launch volume 14 of the series. Aesthetic Politics in Fashion illustrates how fashion can be discussed at the nexus of design, art, politics, and globalism. In this sense, the concept of fashion is seen from the perspective within the arts (as opposed to the cultural industries), enabling insights often neglected in publications on the cultural significance of fashion. Thus, topics like space production, fashion ethics, decolonization practices, and alternative concepts within fashion practice take center stage in this publication. This critical and differentiated approach to fashion is paradigmatic for how textile practices are discussed and taught at the Institute for Education in the Arts of the Academy of Fine Arts Vienna, and with this publication we would like to invite an international audience to participate in this discourse. We would like to thank the editor Elke Gaugele for an excellent job in putting this book together. The Rectorate of the Academy of Fine Arts Vienna Eva Blimlinger, Andrea B. Braidt, Karin Riegler Contents Editor: Elke Gaugele Project/manuscript editors: Martina Fineder, Birke Sturm Aesthetic Politics in Fashion: An Introduction Editorial assistance: Mira Sacher, Elisabeth Pfalzer Elke Gaugele 10 Editorial coordination: Kathrin Wojtowicz Copyeditor/proofreader: Charlotte Eckler, Caitlin Blachfield Design: Miriam Rech, Markus Weisbeck, Surface, Frankfurt am Main/Berlin Aesthetic Economies Cover images: Bradaric Ohmae, “Pictures Seen,” Spring/Summer 2012; Photos by Peter Garmusch Aesthetic Economies of Fashion: An Introduction Printing and binding: Holzhausen Druck GmbH, Wolkersdorf Eva Flicker 22 The book’s color scheme is based on the Pantone Fashion Color Report Spring The Tension of Mallarmé’s Deception Manoeuver: 2014: Women’s Colors. Temporal, Territorial, and Financial Economies in Fashion Birke Sturm 30 ISBN 978-3-95679-079-9 It’s All About the Image: The Cooperation between the Fashion Industry and Celebrities © 2014 Akademie der bildenden Künste Wien, Sternberg Press Endora Comer-Arldt 44 All rights reserved, including the right of reproduction in whole or in part in any form. Andy’s Heritage: Collaborations between Fashion, Art, and Louis Vuitton Sternberg Press Monica Titton 60 Caroline Schneider Karl-Marx-Allee 78 Life Which Writes Itself: Retrospecting Art, Fashion, and D-10243 Berlin Photography in Bernadette Corporation www-sternberg-press.com Ilka Becker 76 Production of Space Fashion and the Production of Space: An Introduction Barbara Schrödl 98 It All Started with a Bicycle: Spring/Summer 2013 Tanja Bradarić and Taro Ohmae 104 Framing “Saints and Sinners.” Methods of Producing Space in Fashion Shows: Michael Michalsky’s Fall/Winter 2009 Collection Alicia Kühl 112 Fashion Film: Spaces of Exclusivity and the Globalization of Accessibility Sabina Muriale 130 The Waywardness of Fashion: Society in the Subjunctive Michael R. Müller 146 Alternative Aesthetic Politics Alternative Aesthetic Politics: An Introduction Elke Gaugele and Monica Titton 164 Dressing the Tiger: Decolonization and Style Racism in South-Asian Fashion Ruby Sircar 174 “Jute Not Plastic”: Alternative Product Culture between Environmental Crisis and Fashion Martina Fineder 186 On the Ethical Turn in Fashion: Policies of Governance and the Fashioning of Social Critique Elke Gaugele 204 “Performing Whiteness”: Revisioning White Textiles in Visual Culture Birgit Haehnel 228 Image Credits 246 Biographies 252 Elke Gaugele 11 For fashion theory there has always been trouble at the intersection of aesthetics and politics. Modernity has drawn out fashion as a figure of ambivalence: it conflates homogenization and individuation, sells hierarchy as democracy, Aesthetic Politics and poses normalization as opposition. In terms of politics, the episteme of fashion has been historically engaged in the program of enlightenment, with its contradicting signifiers of freedom and dependence. It draws spatial, social, and corporeal orders, defined by the coloniality of power. As such, fashion in Fashion became a hegemonical cultural practice of Western nation building, driven by the paradoxes of communization, individualization, and gendering. In parallel with the emergence of industrialized consumer society and as a component of the new spirit of capitalist economy, fashion evolved into a mass phenome- An Introduction non. In the context of aesthetics, fashion had been construed in antithesis to art as a temporal, transitory aesthetic phenomenon, theorized as a self- oppositional, entangled with the ephemeral and contemporary aspects of Elke Gaugele everyday life. This has changed during globalization. Now the commonalities of fashion and art are emphasized, their conjunctions are fostered, not least as a model for a globalized aesthetic economy. Aesthetic Metapolitics Aesthetic Politics in Fashion proposes modes of critical thinking on the present junctions of design, art, politics, and global capitalism. It therefore outlines a perspective on fashion as an aesthetic metapolitics and aims to transmit some of the energy from vivid discussions of the framework on the interchanges of politics and aesthetics posited by French philosopher Jaques Rancière to the body of Fashion Studies. Aesthetic metapolitics, as Rancière suggests, aims to bring together art and life. The metapolitical project of modernity attempts to realize what politics can only give the appearance of achieving: to change not only the laws and orders of the state, but also the specific forms of indi- vidual lives.1 In its political engagement with questions of freedom and equality, aesthetic metapolitics creates collective as well as individual subjectivities. Art and politics, “like forms of knowledge,” Rancière proposes, “construct ‘fic- tions,’ that is to say material rearrangements of signs and images between what is seen and what is said, between what is done and what could be done.”2 This imaginative capability and this potential for materialization also pertain to fashion and its body of aesthetic politics. An interplay between the intangible and the material inform the following perspectives on fashion and the study of fashion as an aesthetic metapolitics. 1 Jacques Rancière, “Die Politik der Ästhetik,” The Distribution of the Sensible, trans. archplus, no. 178 (June 2006): 94–98. Gabriel Rockhill (London: Continuum, 2 Jacques Rancière, The Politics of Aesthetics: 2004), 39. 12 Introduction Elke Gaugele 13 Artistic Regimes, Fashion, and the Distribution of the Sensible those of other industries, its increasing importance also symptomizes the convergence of economic and artistic logics within global neo-capitalism.18 Historically, fashion functioned in the juncture of aesthetics and politics. Rancière Fashion and art create fictions of contemporaneity. The confluences of the has examined this as a distribution of the sensible, which he defines as, “vari- fashion and art market are momentous for globalization after 1989. Their sig- ations of sensible intensities, perceptions, and the abilities of the bodies.”3 nificance lies in the geopolitical production of contemporary imaginations Accordingly, Rancière introduces three artistic regimes: the ethical regime, and their aesthetic presence in fashion. the representative regime, and the aesthetic regime of the arts.4 Within this cultural matrix, however, it is striking to look through the kaleido- All three regimes can be considered as long-term historical structures that scope of the different artistic regimes conceptualized by Rancière. Designed coexist and intertwine. The ethical regime recalls Plato’s ideal state and char- on different, deep-historical levels in the sense of longue durée, the three ar- acterizes the pedagogical functions of the arts to adapt to an authoritarian tistic regimes reveal different functions and effects of aesthetics and politics, class hierarchy.5 The second artistic regime—the representative—admittedly expressed to varying degrees as the consequence of contemporary globaliza- calls upon the autonomy of the arts in relation to the political. But at the same tion processes. This makes them noteworthy tools for contemporary analyses
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