BA FASHION DESIGN

UNIVERSITY OF WESTMINSTER

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blindly loving 

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Imagery associated with Cults

I really like the ritualistic undertones within these images as they convey the traditional aspects of cultism that is seen in folklore, fiction and the media. 

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Love Cult

Since the topic of Cults can be so bleak and somewhat difficult to incorporate appropriately within my project, I would like to exchange the darkness of a cult for the more positive and lively aspects of community and togetherness. Not having an individual dictate one's beliefs, but instead promote a sense of self love, acceptance, and self expression. This opposes the initial characteristics of cults seen in history, that have manipulated, destroyed, and driven peoples lives based on their vulnerabilities. My Love Cult can still carry the same concept, potentially giving my shirt designs a sense of uncanniness. 

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“There was an unspoken understanding that traditional values were to be upheld - the man goes to work all day to provide for his family, and on the weekends and after work during the week, he goes to bars and gets drunk. These were mainly men who brandished shotguns, loved hunting, loved fishing, loved being manly men. The women - they’re main duty was to stay home, raise the children, keep the house, cook the meals, and not question her husband on anything he was doing. The young boys were taught by their fathers to be good providers, good hunters, and to be manly men. The young girls were taught by their mothers to be happy housewives.”

https://www.youtube.com/watch?v=4AqgrcXUtvQ&t=1631s

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Narcissism is classified as a “grandiose, and inflated self image.” This concept was initially brought about by a Greek myth following a man called Narcissus. Narcissus rejected the love of a girl named Echo, and instead fell in love with himself after catching a glimpse of his own appearance in a river. Narcissus drowned in this river. The link between his death and the superior view he had of himself could signify dangerous power dynamics that are similarly seen in Cults. 

Traditional and patriarchal attitudes may feed narcissism, because it places an individual such as the father on a pedestal. The power exchange that occurs between a father and his family in such circumstances is unfair, because it feeds into hubris and a recycled set of beliefs which aren’t necessarily true. This demonstrates how normalised ideas throughout society such as the American Dream, are damaging to individual identities and beliefs. It is strikingly similar to the conventions of a cult, because everyone's individual beings were dictated by idea’s which - now- are rebelled against, and are becoming less common. However, the purpose of - say - the ‘American Dream’ could be interpreted as having a positive impact on the livelihoods of individuals. As one would say: “I only want what's best for you”. What can we really make of that, and is it really coming wholeheartedly from an honest background of opinions and ideas.

This strongly correlates with the current political climate, because society is juggled between a group of powerful people who all have different motives, beliefs, and overall policies that they may deem individually as the most necessary to follow. The strong conflict seen between followers in such systems demonstrates how social, political, and cultural boundaries are not distinct, and we cannot necessarily put a finger on what's best for us. The blurred lines in such topics distinguish how authoritative/popular figures are almost like cult leaders, and can actively create their own discourse for normal consumers like ourselves to follow and digest. With the power of the arts, we can create and display our own ideas which benefit us as individuals. We don’t have to be a follower, or necessarily anything at all. 

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Shirt Inspiration throughout History

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“I may have been Jesus Christ, but I haven't decided yet what I am or who I am.”

Bugliosi. V, Gentry. C (Pg 133, 2014), ‘Helter Skelter: The True Story of the Manson Murders’, Random House

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When discussing actual cult leaders, there seems to be a power exchange that both positively and negatively affects both parties. For example, when observing the influence of Charles Manson on his ‘Family’ in Curt Gentry and Vincent Bugliosi’s ‘Helter Skelter’, Manson acquires both power and authority over his family, which in turn leads them to commit heinous acts which they would have most likely avoided prior to his influence. However, the family’s devotion to Manson evokes the idea that they are positively affected by this power dynamic. Both parties - assuming one is the dominant party and the other is the subservient - are benefited. This power dynamic is both interesting and terrifying, because it outlines how perfection and imperfection cannot be justified. They are each to their own.

I would like to use the basis of my shirt research to explore the notion of a cult on a design level. 

Bugliosi. V, Gentry. C (Pg 133, 2014), ‘Helter Skelter: The True Story of the Manson Murders’, Random House

https://www.youtube.com/watch?v=9RKUkikV5BA

[Accessed: 09/11/2020]

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You have corrupted my imagination and inflamed my blood...

Venus in Furs by Ritter von Leopold Sacher-Masoch 

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Non-Consensual Suffering - Questioning Perfectionism

One could argue that human suffering is a quintessential factor in understanding how a person becomes victim to the attitudes, gestures, and general teachings of a so-called higher individual - someone with the influence to overpower another person by exploiting their weaknesses. J. Moscoso suggests the idea that people are overpowered by a cultural framework, a system that codes how we should and shouldn’t respond to stimuli. Physical responses to pain and suffering are derived from cultural frameworks, which ultimately make them validated responses. Traditionally, suffering was expressed through specific iconography related to mutilation and violation of the body. Such representations were made prevalent by wars, legal punishment, executions, etc. As people, we are legally obligated to follow a set of rules and ideas, otherwise we can’t function as a society. This links to the medieval allegorical concept of ‘danse macabre’, which references death as inevitable and impartial. The push to adhere to rules created by a system that is constantly being fought, criticised, debated, and changed links to this concept, because it shows that we are and have always been living in an imperfect world, and revolting against principles set by the state, or a single cult of personality, that are merely non-negotiable. Subsequently, it is viable to argue that the power exchange that occurs between oneself self and a higher authority / self-entitled authority is ultimately non-censual.

J. Moscoso (Pg 3, 2012), ‘Pain: A Cultural History’, Springer 

https://www.britannica.com/art/dance-of-death-art-motif

[Accessed: 09/11/2020]

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CULT OF PERSONALITY

My research has led me to think about how garments such as shirts can symbolise perfectionism, formality, and propriety. Such factors feed traditionalistic perspectives, and inspire order, justification, a cult of personality. We’re always looking up to someone or something for guidance. Asymmetry is simply unacceptable, but what if everything we thought was symmetrical was completely asymmetrical. Corrupt, distorted, pleasantly unorthodox. Pleasant to some, hideous to others. It’s that reluctance to follow the self but follow someone else. Chaos can be seductive when it is suave and tasteful. Who are you? But, really, who are you? Don’t you know? Don’t turn that dial now, you want to believe, but who do you believe when you don’t believe in yourself?

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BALENCIAGA SPRING 2021 READY-TO-WEAR

In this collection, Balenciaga have fulfilled the notion of “one size fits all”, engaging with voluminous silhouettes to almost conceal the model underneath, in turn giving the garments an identity and personality of their own. Solely the tucking of the shirt successfully merges the garments together. Subsequently, this demonstrates how the shirt is versatile, and can be paired with variations of different fabrics such as denim, jersey, wool, etc. The tucking of the shirt itself almost literally converges a multitude of subcultures, depending on the image of the garments that it is paired with.

Shirts are a viable practice of presentation and perfectionism, and so changing the length, size, and shape of individual components can make the shirt look unique. The asymmetrical nature that is achieved from this can look especially engaging, as it juxtaposes the initial function of the shirt as a symbol of formality and symmetry. 

I also included the long pull over coat because I found that the front facing and opening can be a signifier of different ways that the shirt can be buttoned up, and how the shirt can have a variety of different neck openings to accommodate the style that is to be achieved.

https://www.vogue.com/fashion-shows/spring-2021-ready-to-wear/balenciaga/slideshow/collection

[Accessed: 09/11/2020]

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MAISON MARGIELA SPRING 2021 READY-TO-WEAR

This collection made me reflect on the basic principles of a shirt, and how a shirt is most commonly styled nowadays to fulfil basic fashion trends. The third image reveals a garment shaped like a V-neck sweater, which is tightly constricting a white shirt underneath. This is a common way of layering the shirt, whereas in the first image, the shirt looks as though it has been deconstructed and re-formed as an overlaying garment. Particularly, the collar, front facing, and front bodice have been merged into a singular entity that is separate from the rest of the outfit. This illusionary composition allows the shirt to give the silhouette more shape and volume, and this contrasts with the shirt’s function of keeping an outfit together and in proportion. 

Additionally, the double breasted jacket that is shown in the second image emphasises - like in the Comme Des Garcons Homme Plus collection - how different fabrics and finishes can be utilised on the different components of a shirt for a profound effect on it’s traditional style and composition.  

https://www.vogue.com/fashion-shows/spring-2021-ready-to-wear/maison-martin-margiela/slideshow/collection

[Accessed: 09/11/2020]

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COMME DES GARCONS HOMME PLUS FALL 2020 MENSWEAR

Within this collection, the way in which layering is utilised gives the garments a pleasantly unorthodox tone. It is as though the anatomy of the outfits presented have been mismatched, and whilst this procedure creates a chaotic composition of shapes, colours, and fabrics, it also imposes a sense of sophistication. Of course, this is brought about by the sharp collars on the shirts and capes, as well as the fullness and curvature of the green shirt. The droopiness of luminous lightweight fabrics combined with heavy weight fabrics creates a unique silhouette that works coherently with the desire to look suave and comfortable at the same time. Such factors reflect Demna Gvasalia’s (Director of Balenciaga and founder of Vetements) focus on garments that are not only presentable, but also comfortable to wear. 

https://www.vogue.com/fashion-shows/fall-2020-menswear/comme-des-garcons-homme-plus/slideshow/collection

[Accessed: 09/11/2020]

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CHARLES JEFFREY LOVERBOY SPRING 2018 MENSWEAR

Charles cleverly deconstructs the simplicity of the shirt and makes it his own by emphasizing specific components such as the collars, the cuffs, the sleeves, and the way in which the shirt is draped on the model. This exchanges the typical formality of the shirt for a loose and contemporary approach, instead. The functionality of the garment still exists, but is manipulated in a circus like fashion to give life, energy, and a touch of professionalism to the looks portrayed. The silhouette stays somewhat true to the idea of presentation and elegance, but Charles' ability to distort the volume, print, and shape of the garments develops a quirkiness that can be adapted to contemporary fashion.

https://www.vogue.com/fashion-shows/spring-2018-menswear/charles-jeffrey-loverboy/slideshow/collection#3

[Accessed: 09/11/2020]

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Working on my second draft for the Texture Illustration 🖍