Anti-fashion

Anti‐fashion – the whole meaning of the project, disrupting and ‘deconstructing’ the classic aesthetic of beautiful within the fashion movement. Making the unfinished.

Gill defines deconstruction in terms of fashion as garments that are unfinished, coming apart, recycled, transparent and grunge. She says it is the literal dismantling of clothes in order to destroy fashion.

Abstract painters vandalizing the classic ideals of a beautiful painting.

Coming across this abstract painting of an incredible sea of purple flowers, painted in such a way that contrasts the true concept of the focus within the painting. The violent brushstrokes and harsh edges used to portray something usually so delicate opens up a whole other concept to the piece. The artist has vandalized the idealistic image of a flower we all know so well, to instead disrupt this naïve thought process and open our minds to a bigger notion. Similarly, we see this same concept within the anti‐fashion movement.

A new generation of ‘beautiful’. This is imperative and needs to happen, breaking down the beauty standards of fashion and art will have a domino effect into our society and hopefully influence young people in a more mentally beneficial way. (breaking down the main structure of ‘beautiful fashion’)

Influences taken from the “street” by designers like Westwood, Gaultier, Versace, Galliano and Hamnet. Inspired by counter culture’s ability to uncover taboo sexual and political ideas, fudge gender roles and explicit nudity. Anti fashion goes against the basic purpose of clothing: functionality. It renders clothes unusable, distasteful and aged. However, it might not be “deconstructive” because of it’s direct, playful dialogue with fashion, it refuses a negative critique.
The term deconstruction has been used to describe the rebellion against traditional forms in art. Amy Spindler announced the trend as a rebellion against fashion's heritage. Elements of deconstruction include vintage linings sewn on the outside of clothes, exposed zippers and seams. Basically, the garments call attention to the mechanics of production, they strip away the aesthetic illusion associated with clothes to reveal the forms of construction that lay beneath. However, the major problem with this theory is that in deconstructing fashion, you are creating a new fashion‐ a paradox that Martin and Koda illuminated in saying

“Deconstruction becomes a process of analytical creation”

I believe these terms and style of thinking to be relevant today, especially in our claims that we live in a post‐modern world. I think the reinvention of not only fashion trends, but the way in which we see and define fashion creates, in itself, an aspect of power over society in that it forces us to think and rethink our own normalized predispositions.
A new generation of ‘beautiful’. This is imperative and needs to happen , breaking down the beauty standards of fashion and art will have a domino effect into our society and hopefully influence young people in a more mentally beneficial way.

Deconstruction project

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