It is rare to meet a person who solely displays the traits of one gender, making it impossible to find super feminine women or completely masculine men. People are naturally a mixture of these traits, sex roles being mostly a product of culture.
World mythology consists of androgynous deities and heroes galore, the majority of the stories about creation involving such a creature dividing into male and female forms, thus giving birth to something totally new. But there are other cultures where the divine ones are both male and female at the same time, so it is only natural to state that androgyny incorporates a notion of totality.
Regarding human nature, all animals and all people have both male and female hormones to various degrees, so it is rare to meet a person who solely displays the traits of one gender, making it impossible to find superfeminine women or completely masculine men. People are naturally a mixture of these traits, sex roles being mostly a product of culture.
In fashion, androgyny is not a new concept at all. From David Bowie to Marilyn Manson, creative people have pushed the boundaries of personal identity through the means of clothing, make-up, accessories. Even if this whole gender-blending concept is already old, it exhibits different connotations with each new generation. Fashion has been pushed to the extreme masculine or to the extreme feminine before – giving up the corset in the ‘20s, the sexual revolution of the ‘60s and the modes, or the ultramasculine power suit of the ‘80s – all of these being consequences of the social and political changes. These last years, the social circumstances have pushed fashion back into this androgynous zone where girly boys are more appreciated by the feminine crowd and butcher girls catch more and more men’s eyes.
Of course the fashion industry has proved to be profoundly influenced by these parameters, making it vital for young designers to create unisex clothing and accessories, thus utterly sabotaging the whole concept of gender, because a certain clothing object mustn’t necessarily be defined by something sexually specific. If it is a good product, it doesn’t matter if it is worn by a man or a woman, becoming something of an ideal.
The 6-piece installation I am developing is an ode to the Ulm School of Design, which has set the standards for a profile that is both aesthetic and analytic at the same time. My collection will follow the “Ulm Model” – the integration of aesthetics and the understanding of semiotics in an art installation where the clothes themselves will interact with conceptual photography developed by my colleague, Emil Costruț.
ASOCAŢIA „VISUAL KONTAKT”
ROMÂNIA – ORADEA
Galeria Visual Kontakt – Oradea, str. Albacului nr. 54
Laborator.Visual.Kontakt – Oradea, str. Republicii nr. 47
Tel.: 0040/745 – 205 729
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