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The twins in fashion and culture

by Clarissa Lee (Nov 2005)

First impressions count. We have expectations and prejudices conditioned into us that will affect our interaction with the person we meet for the first time. The impressions we form come not only from verbal expressions and body language, but also from the cues given by the person's attire. How we interpret the cues will be determined by our cultural and individual biases. Religious beliefs, taboos and matters of class also come into play in our idiosyncratic society.

If clothes were originally meant as protection against the nature's elements, it has evolved (as all elements of human civilization would, eventually) into a sophisticated fashion industry (rag trade) that generates millions, if not billions, in currencies. On top of that, many supporting industries have grown around it. Fashion is an industry that is so vast and influential that its existence is seldom questioned but whose presence is so pervasive that it now becomes a source of motivational philosophies. Grooming and etiquette trainers often preach on the need to 'dress for success' as how we present ourselves daily might make or break our career. Imagine the CEO of your company, or your high-power client, catching you shopping in a t-shirt stained with toothpaste and baby-feed. Stylists make careers out of celebrities and elites in societies who could afford to hire them as their fashion advisors so that a fashion magazine will not bitch about their bad fashion sense.

If clothes worn in the past were strictly regulated, we now live in an age of relative freedom in determining what we wear. Or one has an illusion of such freedom. There are religions that forbid one to wear clothes that might expose certain parts of the body, or any part of the body. Economy and social considerations have roles to play in one's sartorial inclinations. 'High-brow' fashion is created with the hot-off the catwalk pre-orders as opposed to the 'middle' or 'low' brow off-the-racks. It is perhaps ironic that fashion, as with all art forms, has a liberating effect on your ability to self-actualise while at the same time, impede your ability to do create with economical exigencies or in affording that work of creativity.

It has been said before that the influence of one's native culture and ethnic/national based identity should show themselves in one's creative output, especially for products like fashion. Yet, this is arguable as one's identity is fluid and neither bound to national policies nor roots. It has been argued again and again that creative 'brains' of Asia should strive to bring about an Asian identity to their work, but there is nothing concrete about an Asian identity, short of possibly politicised cultural imprints. This is especially so in Malaysia where most of our cultural heritage has had its origins in different parts of the world, with few that are truly indigenous. However, due to the fact that our world has always been cosmopolitan, even during the pre-Industrial age, many of our cultural artifacts bear traces of promiscuous mingling. This can be seen in works of Asian designers, some of whom were accused of having borrowed heavily from the Europeans. Yet, when the designs are deconstructed and reverse engineered, they have instead, the appearance of Europeans borrowing from the Asians. It is a chicken-and-egg. In the world of fashion, there is no real dichotomy between the East and West, and I feel that such need to categorise is but a wishful longing to hang-on to a particular illusion or fantasy. Some designers might suggest that their clothes are inspired by their respective ethnic and cultural heritage. However, for a disinterested onlooker, there is a possibility of him/her noticing a similar construction in the national costume of an unrelated culture. Nevertheless, it is refreshing to see how various designers show their pride in their heritage by revisiting them with a fresh edge, thus proving that keeping a tradition alive equates with continuous innovation.

While it is inevitable that there will be traditions which were derived from a problematic sexual and political climate, the designer should not fear compromise in re-using an artistic inspiration born of that period. An instance in fashion would be clothes worn by women that attempt to restrict their movements or make them ornamentations or trophies of their fathers, brothers and husbands. These clothes can be appreciated for the painstaking attention paid to their designs or for their intricate pattern and beadwork. Circumstances that led to the creation of such garments should not prevent a socially-conscious designer from borrowing the ideas (though not the ideals) and turning them into clothes that celebrate the affirmation and identity of the woman as an individual person. It is true that some haute couture designs seem regressive in that they are more of an inconvenience rather than an accentuation to the wearer. Yet, it is heartening to note that various local designers have gone for marrying functionality with aesthetic even in their 'sky is the limit' approach to their haute couture collections. It shows a new awareness of a woman's role in society.

However, some might argue that members of more traditional societies less affected by modernisation/globalisation have retained their individuality in dressing without going into great expense. While, this might be true to some extent, it is still questionable because, unless such communities are in total isolation, they will still be affected to a certain degree by the commercialisation of fashion, and the consequence of such commercialisation. And if they do live in such isolation, their choice is inevitably limited, and whatever permutations you give to the varying of designs, colours and accessories, there is no real one-of-a kind uniqueness. But, one can also argue that individual uniqueness is also a matter of the state of mind.

In conclusion, the ability for a particular city to sustain as a fashion capital would be determined by the priorities and financial ability of its denizens. Fashion as a form of branding of yourself and as a product of one's lifestyle can have many positive qualities, especially if utilised as one of the many forms of self-expression. In order for fashion in Malaysia to grow, and grow it will as we have proven that we have a stable of highly-promising designers, they will need further encouragement to strive towards greater inventiveness and introspection in the delivery of their collections.

However, one must remember that a designer often walked a tightrope where he/she cannot please everyone, be they the fashion critics or its dogmatic adherents. There are certain standards within the industry, even if discriminatory and unnecessary, which are too difficult for an idealistic but unknown designer to break-down as it requires much energy that he/she would rather spend on his/her creative enterprise, a wise decision in such a competitive industry. Even if a designer achieves acclaim, not many would go all out to change industry practices, most likely because they have taken such things for granted. However, there are a few established designers who try to make a difference in their own way. Yet, one must not forget the involvement of the public/market and they can be even more contradictory and fickle in their demands.

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The twins in fashion and culture

by Clarissa Lee (Nov 2005)

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