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Fashionable Ladies, Dada Dandies Author(S): Brigid Doherty Reviewed Work(S): Source: Art Journal, Vol Fashionable Ladies, Dada Dandies Author(s): Brigid Doherty Reviewed work(s): Source: Art Journal, Vol. 54, No. 1, Clothing as Subject (Spring, 1995), pp. 46-50 Published by: College Art Association Stable URL: http://www.jstor.org/stable/777506 . Accessed: 26/03/2012 07:53 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. College Art Association is collaborating with JSTOR to digitize, preserve and extend access to Art Journal. http://www.jstor.org FashionableLadies, Dada Dandies Brigid Doherty n Berlin, as in Paris, London,and New York,skirts got shorterin the 1920s, exposing legs swathed in shiny, synthetic silk stockings. "Legs have emergedafter cen- turies of shrouding,and adult womanat last frankly admits herself to be a biped ... her ankles, calves, and knees (all the more dazzling in their suddenly revealed beauty after their long sojourn in the dark) [are] her chief erotic gebennddanah vonihr ene Reie ser scner Hemden Zwnen Sie e niraotenn beiorienften Firren arlbetten bezogenzu lassen, wenn 46 weapons,"Iwrote the psychoanalystJ. C. Flugel in his 1930 if-iren study, ThePsychology of Clothes.After the First WorldWar, Flugel argues, men's fashion did not keep pace with the modernizationof women'swear. Tailorsfailed to answerde- mandsfor increased comfort,convenience, and cleanliness, and manymen succumbed to cowardiceand clubby conform- ism in refusing to give up their stuffy suits. Flugel's account of the attentionto the limbs that characterizedwomen's fash- ions of the 1920s was writtenat a momentwhen reactionary dressmakersand authoritieson haute couture had already regroupedto launch a campaignaimed at loweringhemlines, and his text speaks in the name of the sartorialemancipation of both womenand men. In 1924 Raoul Hausmann, previouslya central figure in Berlin Dada, contributedan essay called "Fashion"to G, a Hemden sind weit und blusenadig Constructivistmagazine edited and published in Berlin by Hans Richter.2 it shared con- 51 Hausmann, seems, Flugel's - I- - I: : - III 1i- I -- ::i cerns about the repressive vestimentaryregime of the suit. "Fashion,"published in English for the first time in this FIG. 1 Raoul Hausmann, "Fashion," G, no. 3 (June 1924): 51. Berlinische Galerie, Berlin. issue, takes a modern,functionalist approach to dress, call- ing for the rationalizationof clothing design in the interest of freedomof movementand, ultimately,hygiene.3 The layout the body is not merelya propertyof the fabric itself, but is a of "Fashion"-a clean sans-serif font, innovativepairings of result of the functionalistconstruction of the garment.In case blocksof text and photographicillustrations, eye-catching yet we do not immediatelydiscern this fact fromthe drapeof the discreet use of boldface and oversized type-is typical of sleeve's voluminousfolds, a little arrowat the armpitpoints it 1920s Germanmodernism. One of the illustrations(fig. 1) out. On the final page of "Fashion"(fig. 2) we again see shows Hausmann-shown from the back with his head in Hausmann himself-now photographed full figure and profileand his trademarkmonocle exposed-raising his arm placed at left without caption, frame, or background- matter-of-factlyto demonstratethe freedom of movementhe showing off an overcoat of his own design. His confident, enjoys in his loosely cut striped shirt ("shirtsare wide and upright pose emphasizes the careful cut of the coat's back blouselike,"reads the caption). For Hausmann, "fashionis yoke and deep, architectonicpleats. (Below the hem of his the function of the body made visible," and the illustration dark, ankle-length trouserswe glimpse his sensible rubber- underscoresthe point graphically.4We see howthe motionof soled shoes and hygienic, light-coloredsocks.) The clothes his arm shows in the give of the generoussleeve, and we are Hausmannwears are markedlydifferent from the frockcoats madeaware that this ability to accommodatethe movementof and tubelike trousershe criticizes in "Fashion,"but preach- SPRING1995 ing practical reformand modeling functionalistfashion are only part of his aim here. On my reading, the sobriety is HU T E superficial, and the functionalismdoes nottell the full story.5 JLKO "Fashion"is, above all, an extended, splenetic com- plaint. Laced with breaks marked by broad typographical dashes, with rhetorical eruptions followed by exclamation points, and with breakneck-paced run-on sentences that exemplifyaspects of the tailoringthey describe, "Fashion"is a performativetext, a manifesto written for a magazine and still waitingto be declaimed. When, forexample, Hausmann gripes aboutthe inability of Germantailors to producea suit 2201 Hobg. jacket whose sleeve from a well- 2Elit21o('k aMtOU9 1 Ste1112 202 ,Todes, w SeOl drapes gracefully 8o2n1 0 an hesretzen2 Mtten 2k2nt mfman t a0 be, Gr eJa W-0es lt 0011 constructed his sentence imitates the continuous s211210 in roin, dern gelbse001210z o11222l02 shoulder, 00211 Vor emKrego1 warg. esohier 101011101, oale 211120 11011sio U1115~ter821102120l 22101211211 22tr00211 ?,Cele2ottfA,11 21211toffewurden o112Enland2 geschiollI, cut of a tailor'sscissors and the 2121011 at$ glschen 022a1n ,l:)e careful trail of his stitches diou!1itr 02e 0111kleiner 22111181201inOdr ogend 2e1110122e212 1121 1m lg22 ego22210110 0o11.i 01 102order200 Mk, ft i 0110 without to heed to the rules of In the 5 212S(1bg2220011102Anzug, Ric Both2er1110nd2Watson, der pausing pay grammar. 110210 onglisch. 1022221102221, 0011021 12 12 08n. D0r 2ii•ii~~iii!!{i~ !~ii•i! :•~l•!:•!!;;~ ~~!!:!•i•~~!iiddeutsheHo ler'It a01181older u 21pfnl~co1O 11ModeO,r iii!:i:•••:ii~::~•}i!•~ii::i:!i~:i~ iiii•iiii'i!•••!ii Eridedac l, er aubt m111211, 2lihs efigarillt0log (6 01a i ,• form of a broadside German tailors, tar)stleto)nt. Oder01,selt es In Berlin1121oviele 001222101 against reactionary g121, 2Kaftan 0et2die1Parole, Der D0e12ts0heoht c202 02 strkliedas 02Klaiungbesit112en mul0201 011221i~,Viellelicht 011211120011811 01211, wel 01 201221112211 11002 12ktio- "Fashion"is a bitterlycomic account of the flawed bodies of ne1011 oh m1o1112mat0 111die l01101112011211202 1p01 02,11121 2111112110101,D0O2 20100111tsc2e110111M1iitbr wa, 1011211man 201101, 11121112112, 202 21 01011b0202011 112112,(21 0011111 ooozu?) Vor l01111ihml 200021 Mode i121boo 21221122, middle-class men Mode st that has more to do with Dadaist satire wamoeglndie s102c2111111g20202110 eatztsi sd 121110fu1111bb01unei'itr --1111 01122200211 2211, hoi~t 0111mode t001112b22111012211 exp 1120211.00essonex than it 11211211dieoW-W022011 02221012 1110111212 210, He-fen'.lt does with modernistreform. When the text investi- 211200 002101, 212e01122202011 012, Die 21220110die2 21 112201 - 11111201, 211221 111011be0101112121, olWoho lot 0112d0001 Aerk?A mar)2112ber 202111011 1rauen m2111K~lper- 47 gates the stuffiness of male dress, it finds an ultimate cause b011111112212, 1121101, 20ie 11211t,01112122, 2i2 y21222b1 lnr2o1r1o11112t, 2i2 2 Quadratlats011811 1112 010111110110 in the male body itself. The German gentleman "barely 11102 1111110102 2102111211 ,11201 , 11. Ne11O,212 functions"because his posture has been stiffenedby military 1101112du 00100, his bloated with 011112, body. discipline, belly beer. For Hausmann, the moo 11210i0111112,.dal 021202111,0. German gentleman is not modern:just watch him trudge 22l211e`11121,, along the streets of the metropolis-or, better yet, capture him in cinematic slow-motion-and you'll see that he does FIG. 2 RaoulHausmann, "Fashion," G,no. 3 (June1924): 52. Berlinische not knowhow to move, thathe does notunderstand that "to be Galerie,Berlin. dressed is to have a consciousness of the body." To the German gentleman Hausmann opposes the well-dressed ionablefemale bodies, especially their legs ("[woman's]chief ladies of Berlin'swealthy West Side, representativesof the eroticweapons," as Flugel called them), plays a centralrole. much discussed Neue Frau (New Woman)of WeimarGer- "Fiat Modes, pereatars" (Let there be fashion, mayart many. Contemptfor "Germanness,"as embodied in beer- perish)proclaims the bannerheadline on Hausmann'sepony- bellied bourgeois men, not commitmentto functionalistre- mousphotomontage. The title is takenfrom a 1919 portfolioof form, drives Hausmann'stext and establishes the relationsof lithographsby MaxErnst, and it names an allegiance to mass body, gender,and modernitythat result in his celebrationof culture and an abandonmentof art that we have come to fashionableladies. expect of Berlin Dada's ironical announcements.Pasted on According to Flugel, male narcissistic and exhibi- top of the frontispiece of Ernst's Fiat Modes, pereat ars tionistic desires, inhibited as they are by the sober conven- portfolio, the next layer of Hausmann'sFiat Modes is a tions of modernmen's wear, usually get displaced in one of reproduction of his own 1920 watercolorKutschenbauch twopossible ways:through the voyeuristicviewing of women's dichtet (Coachbelly composes poetry). Elements of fashion bodies (scopophilia)or throughthe projectionof male exhibi- are already present in Kutschenbauch dichtet, where tionistic desire onto women, which, he adds, necessarily
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