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Total Work of Fashion: Bernhard Willhelm and the Contemporary Avant-Garde

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Total Work of Fashion: Bernhard Willhelm and the Contemporary Avant-Garde TOTAL WORK OF FASHION: BERNHARD WILLHELM AND THE CONTEMPORARY AVANT-GARDE CHARLENE KAY LAU A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN ART HISTORY AND VISUAL CULTURE YORK UNIVERSITY TORONTO, ONTARIO April 2016 © Charlene Kay Lau, 2016 ii Abstract In fashion discourse, the term “avant-garde” is often applied to garments that fall outside of the mainstream fashion, whether experimental, conceptual or intellectual. However, such usage overlooks the social and political aims of the historical, artistic avant-gardes. Through an examination of the contemporary avant-garde fashion label Bernhard Willhelm – led by designers Bernhard Wilhelm and Jutta Kraus – this dissertation reconnects the historical or original vanguard and its revolutionary potential and proposes that Bernhard Willhelm belongs to an emerging, contemporary narrative of the avant- garde that intersects with fashion. In this study, I analyze Willhelm and Kraus’s collections, ephemera, runway presentations, exhibitions, online media, fashion films and critical reception from the brand’s inception in 1999 to 2016. Firstly, I develop the notion of “fashion-time” and contend that Willhelm and Kraus’s designs reject accelerated change, oscillating between the temporalities of fashion and anti-fashion and fashion and art. Secondly, I argue that the designers devise a political fashion, one that simultaneously critiques global politics and challenges norms in the fashion system. Thirdly, I assert that enduring collaboration with other cultural producers underpins Willhelm and Kraus’s work. The interdisciplinarity born of their collective work informs their spectacular visual language, the of sum of which I term a “total work of fashion.” By exploring these tenets of Willhelm and Kraus’s practice, I demonstrate that the avant- garde project is dynamic and in constant flux, at times incorporating dialectical facets that continually expand the disciplines of fashion and art. iii Acknowledgements This dissertation would not have been possible without the generosity of Bernhard and Jutta, who shared their time and work with me during one of the busiest weeks in the fashion calendar. I am also deeply grateful to Birgit Ansoms, Wim Mertens and Kim Verkens at the ModeMuseum, Antwerp, who graciously opened their library and storerooms to me and helped me to ferry countless racks of Bernhard Willhelm garments to the conservation lab. I would like to express my gratitude to Jennifer Fisher, who supported the interdisciplinary direction of this dissertation, wrestling with conjunctures between art and fashion. Her supervision of my research and expertise in display culture helped me to focus on the role of temporality in the museum, and encouraged me to examine the key possibilities of this study; her ceaseless motivation kept me buoyant throughout, always with a cup of tea at the ready. An immense thank you goes to Dan Adler and John Potvin for their invaluable critical insights respectively on the avant-garde and fashion through many coffees and Skype calls. As well, I am grateful to Carol Zemel for providing me with a strong art historical methodological toolkit; Brian Grosskurth and Richard Hill for their excellent graduate seminars that fundamentally shaped how I see being and hybridity; Marlis Schweitzer who introduced me to Verfremdungseffekt and theatricality in fashion; and Anna Hudson and Sarah Parsons for supporting my topic within the department from day one. I would like to thank my colleagues at York University, specifically my cohort-mate Akiko Takesue and comrade Vanessa Fleet; and my London mates: Emily Ardizzone, Karishma Harjani, Morna Laing, Rachel Lifter and Mario Roman. iv I have tremendous appreciation for my stellar friends, in particular Sarah Chu who accompanied me to innumerable library study sessions and extended, therapeutic lunch breaks; Marieke van Es, Ellinor Gunnarsson and Wim Janssen for their companionship and support during my time in Antwerp; and Ruth-Esther Johnson-Boda for her translation skills and teaching me how to pronounce “Jetztzeit.” Thank you to my family for the many facets of their support; especially to my parents for letting me be whatever and whoever I wanted to be when I grew up; Elaine and Joey for withstanding my many dissertation moods; Milo for always putting a smile on my face with his joyous babble; and Sennah Yee for her keen insight on contemporary film. Lastly, thank you to Adam Linthwaite, whose never-ending encouragement, intensely analytical mind and strength kept me motivated at every step of the Ph.D. v Table of Contents Abstract ............................................................................................................................... ii Acknowledgements ............................................................................................................ iii Table of Contents .................................................................................................................v List of Figures ................................................................................................................... vii Introduction: Entering into the Bernhard Willhelm Universe .............................................1 Chapter One Literature Review: Junctures Between the Avant-Garde, Art and Fashion, and the Gesamtkunstwerk ...............................................................................................................10 Chapter Two Against Fashion-Time: Bernhard Willhelm and the Avant-Garde Object of Fashion ......63 Fashion and avant-garde objecthood .....................................................................65 The anti-fashion of Bernhard Willhelm .................................................................71 Quotations of folk dress as anti-fashion .................................................................77 Workwear as anti-fashion ......................................................................................82 A question of dialectics: the contemporary ...........................................................87 Jetztzeit (now-time) ................................................................................................94 Time travel: when fashion moves from the runway to the museum ......................96 Bernhard Willhelm: Het Totaal Rappel at ModeMuseum, Antwerp ...................100 Bernhard Willhelm and Jutta Kraus at Groninger Museum, Groningen .............114 Bernhard Willhelm 3000: When Fashion Shows the Danger Then Fashion is the Danger at MOCA Pacific Design Center, Los Angeles ......................................116 Conclusion ..........................................................................................................121 Chapter Three Fashioning the Political................................ ....................................................................123 Fashion as political protest ...................................................................................125 The politics of diversity .......................................................................................136 Body politics: challenging gender and sexuality in fashion ................................142 Against notions of taste: challenging a bourgeois construct of fashion ...............149 Transgressing codes of decency in dress .............................................................153 Queering the boundaries of propriety ..................................................................158 Against luxury: a critique of conspicuous consumption ......................................167 Conclusion ...........................................................................................................176 Chapter Four Gesamtkunstwerk: Bernhard Willhelm and the Total Work of Fashion ..........................178 Collaboration as a foundation for practice ...........................................................181 Merging art and life: the world of Bernhard Willhelm ........................................191 Spectacle and theatre in the total artwork of Bernhard Willhelm ........................196 Bernhard Willhelm, the show: the exhibition as a total work of art ....................203 vi The runway Gesamtkunstwerk: the theatrical fashion shows of Bernhard Willhelm ..............................................................................................................................214 Bernhard Willhelm on stage and screen: dance and fashion film ........................224 Spectacular costumes: Bernhard Willhelm on stage with Björk and Cedar Lake Contemporary Ballet ............................................................................................236 Conclusion ...........................................................................................................242 Conclusion: Looking Ahead to the Future of Fashion and Art ........................................244 Bibliography ....................................................................................................................252 Appendices Appendix A: Figures ........................................................................................................271 Appendix B: Interview with Bernhard Wilhelm and Jutta Kraus ....................................309 vii List of Figures Figure 1: Fibreglass “suit” work by Björk on the cover of her album Volta installed in the exhibition Bernhard
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