Sensory Biases and Fashion

Sensory biases are subconscious prejudices that exist in the sensory system towards certain centripetal stimuli. They may be preferences gained from engaging in one behaviour which extend beyond this initial behaviour, influencing extraneous sensory driven choices (Fuller, 2009) or stochastic by-products of an organisms genetic make-up (Endler & Basolo, 1998). Enquist and Arak (1994) illustrate via artificial neural network models that visual sensorial predispositions may be spandrels of the need to identify and distinguish objects regardless of their location or orientation in an individuals field of vision. This sensory bias hypothesis has been validated in multiple empirical studies; Rodd et al. (2002) found that in certain guppy populations, female foraging preferences account for 94% of the inter-population deviation in female breeding predilections for orange sexual ornaments on males. Similarly, a studies undertaken by Elliot et al. (2010) and Roberts et al. (2010) both found that women find men who wear red to be more sexually attractive than those who wear identical fit clothing of other colours. Verpooten (2009) credits these psychosensory biases as having a considerable role in the genesis and proliferation of all creative behaviour. . This could be applied to fashion as both a compliment to sexual selection theory, and as a direct replacement. Creative behaviour may have originated as an attempt to replicate pleasurable emotions derived from past sensory-driven experiences. Concomitantly, although sexual selection theory may be responsible for the dissemination of artistic behaviour (Miller, 2001), a yearning to reproduce previous sensorially pleasurable experiences may have been the initial trigger (Verpooten, 2009). This is because a suitor would have no way to know if a particular creative behaviour would be sexually desirable if it has never been done before – thus his original actions may have been purely for self-gratification, however, upon understanding that said actions are viewed as desirable, these actions would be repeated and more widely engaged in.

Professor of Neuroesthetics at the University College London, Semir Zeki, is well known for his pioneering work on the neurological motivations which drive our appreciation of the arts. In an article for Science (2001, p.51), Zeki notes how orientation selective cells, which are present in the primary visual cortex (V1) “respond selectively to straight lines”. This, Zeki postulates, explicates to an extent, the pleasure that we derive from line-based art, such as that of Mondrian. Similarly, Enquist and Arak (1994) note that humans have a predisposition towards symmetrical patterns. It would be expected that these cells would respond similarly to the line-based patterns which feature recurrently in the collections of many designers. Many of the most enduring patterns such as stripes, plaids, tartan, gingham etc. are line-based; the fact that such patterns have appeared on clothing since the time of the ancient Greeks (Racinet, 1888), possibly longer, adds credence to this theory. Different patterns stimulate the visual cortex in different ways – possibly providing us with motivation to see more, and ultimately to own more. Thus, it is possible that our avaricious craving for new designs season after season is catalysed by the stimulation which fashion provides for our visual cortex. Of course not all fashion is visually pleasing. Some designers such as, amongst others, Rei Kawakubo purposefully adopt an atypical aesthetic; espousing unusual asymmetrical shapes (van der Zwaag, 2006). For such instances, sexual selection theory provides more apt explanations.

Miller (2001, p.144) concurs largely with Zeki, describing V1, as “a set of edge detectors”, furthermore, Miller (2001) posits that it is evolutionarily easier to adapt to this visual preference by altering the patterns on one’s plumage, beak or fur than to change one’s overall shape. Miller (2001) goes further than this still – he also suggests that animals may utilize this visual preference as a tactic to attract a mate. Indeed, Homo Sapien Sapiens are not the only species which find straight lines visually stimulating; this attribute is a homogeny present in a diverse range of species right across animalia. Some animals exploit this visual stimulus by using lines on the body as a sexual ornament. Animals such as the pipefish (Berglund & Rosenqvist, 2001), the yellow-eyed penguin (Cuervo et al., 2009) and the Mandrill (Setchell et al. 2006) have all developed this adaptation. Fuller (2009, p.1697) states that sensory bias theory may mean that “males should evolve traits that maximally stimulate the senses of females”. Consequently, one may reason that as humans may manipulate their appearance through the use of clothing, that a permanent sexual ornament such as the yellow-eyed penguins beak, is not only wholly unnecessary, but also disadvantageous. Humans can change outfits at will, thus having a potentially unlimited number of opportunities to stimulate the V1 of a desired mate. Ergo, one could reason that clothing, costume and fashion originated and proliferated as attraction devices designed to appeal to the senses of potential mates. The greater the selection of clothing, the more ways to attract.

Polybius of Megalopolis

Historiae, The extensive 39 volume work written by Polybius of Megalopolis in the year 146 BC provides us with one of the earliest advanced example of historical recurrence. This chronicling of  universal history was dominated by his model of historical change which he named “the cycle of governments” or “Anacyclosis”. The cycle of governments, according to Polybius was the natural course which human government takes. Polybius determined that there are 6 general forms which government will take. The first, which he identified as kingship was the result of human reactive behaviour to the power vacuum that exists in primitive non-civilised societal groupings. Polybius determined that in these non-rigid, quasi-animalistic states that strong, powerful and charismatic leaders would emerge. The following is a quotation from Polybius which provides a parsimonious look at the general workings of his theory.

When a new generation arises and the democracy falls into the hands of the grandchildren of its founders, they have become so accustomed to freedom and equality that they no longer value them, and begin to aim at pre-eminence; and it is chiefly those of ample fortune who fall into this error. So when they begin to lust for power and cannot attain it through themselves or their own good qualities, they ruin their estates, tempting and corrupting the people in every possible way. And hence when by their foolish thirst for reputation they have created among the masses an appetite for gifts and the habit of receiving them, democracy in its turn is abolished and changes into a rule of force and violence. For the people, having grown accustomed to feed at the expense of others and to depend for their livelihood on the property of others, as soon as they find a leader who is enterprising but is excluded from the houses of office by his penury, institute the rule of violence; and now uniting their forces massacre, banish, and plunder, until they degenerate again into perfect savages and find once more a master and monarch. (Book 6 Chapter 2)

Polybius believed that governments change over time in response to the forces of human behavior. As, he forwarded that the cycle of governments would be repeated ad infinitum he thus believed human behaviour to be constant. In this facet of his theory, his work is greatly influenced by the earlier works of Thucydides, particularly “History of the Peloponnesian War”. The relevance of the works of Polybius to my project is flagrant – he believed that man, regardless of era, cultural differences and technological advancements would repeat their actions from the past continuously due to their unwavering “nature”. These views were forumlated long before the advancement of evolutionary psychology as a credible academic discipline, yet using evolutionary studies, such as those mentioned in my research paper it may be possible to add empirical structure to the theories of Polybius.

A Musical Composition, Some Stop Motion & a Motif

 
 
 

This is a further experiment by myself into stop motion animation, which I’ve become quite interested in recently, particularly as a means of presentation. The video is accompanied by a snippet from a score which I’ve composed

Ibn Khaldūn and Historical Recurrence

I’ve previously taken a look at the works of other scholars who have advanced the idea of historical recurrence, however due to the sheer quantity of philosophers, historiographers etc. whose ideas have been shaped in some way by historical recurrence, is is almost impossible to compile and analyse an exhaustive collection. Not withstanding however, there are a number of prominent proponents of the theory whose works I have studied who I have not yet written blog posts about. Thus, I shall attempt to explore the writings of a number of these aforementioned academics here.

Ibn Khaldūn (full name, Arabic: أبو زيد عبد الرحمن بن محمد بن خلدون الحضرمي‎, Abū Zayd ‘Abdu r-Raḥman bin Muḥammad bin Khaldūn Al-Hadrami) was a C14th North African historiographer and historian whose works are widely acknowledged to be some of the most important to originate amongst Islamic scholars. His writings are viewed as playing a fundamental role in the development of modern academic disciplines amongst others, historiography, sociology and economics. Central to the works of Ibn Khaldun is the notion of historical recurrence.

Written in 1377, Muqaddimah is now widely considered Khaldun’s foremost contribution to the field of historiography. Muqaddimah is one of the first cohesive attempts at a universal history of humankind, ambitious in it’s scope and clinical in it’s precision, the work was without peer until Giovanni Battista Vico’s contribution to the discipline more than 300 years later. Speaking of “Muqaddimah” Arnold Toynbee (himself perhaps the most well know proponent of historical recurrence in the C20th) described the work as, “”a philosophy of history which is undoubtedly the greatest work of its kind that has ever yet been created by any mind in any time or place.” Khaldun wrote the Muqaddimah in order to put right the erroneous methods which afflicted the works of his peers. He posited that the most common, and most damaging mistake made by his contemporaries was that the were “ignorant to the laws governing the transformations of human societies”.

An axial tenet of his social theorising is that of Asabiyyah. Asabiyyah refers to the social bond which exists between the human members of a community or society. Ibn Khaldun postulates that Asabiyyah exists at all level of human society where a group dynamic is present – from pre-civilization, until the contemporarily modern civilisation at his time of writing, and furthermore he believed it to be a constant which would continue throughout human history. He proposed that as a society became more sophisticated that Asabiyyah would be gradually negated. Thus, the established, more advanced civilisation would be superseded by a simpler (theoretically nomadic) civilisation which had a stronger Asabiyyah. This, he predicated, would perpetuate indefintiely. This civilisational cycle he forwarded, has historical recurrence beating resolutely at it’s heart.

Smaller, simpler groups have little possessions or power, thus there is less jealousy and competition amongst group members. Instead, there exists a constant knowledge, that alone the individuals who comprise the group would have little chance of political success or survival. This fear of death, or a diminishment of living standards hellps to foster a culture of appreciation of the group amongst the individuals. As the group becomes more powerful however, it will be the case that there is more land and wealth to be divided, perhaps causing disenchantment and resentment based on how this new power/wealth is allocated. Moreover, as a group becomes more sprawling, perhaps even evolves into an empire, the lifestyles present at the centre of the empire and those at its fringes, will differ markedly. Those at the centre will monopolise the wealth, enjoying sedentary and less arduous urban lifestyle, in doing so alienating those at the hinterlands of the empire. The previously strong Asabiyyah will thus fragment, and individualism and factionalism will run rampant. Leading to a general weakening of the group and the inevitable supplantation by a new group.

Ibn Khaldun clearly takes human nature to be a constant force, which will react identically given equal circumstances, despite the fact his work predates evolutionary theory by a near millennium. His theory of civilisational cycles assumes as much – according to the cycle, each time, individuals will inevitably err in the same ways as their predecessors.

Gareth Pugh Fashion Film A/W 2011 Showcase

GARETH PUGH PITTI 2011 – FILM BY RUTH HOGBEN from SHOWstudio on Vimeo.

Staying on the same ground as my last post, this week Gareth Pugh illustrated the vast possibilities available to those open to espousing the digital. Pugh, in collaboration with Ruth Hogban, created a short video which showcased his upcoming A/W 2011 womenswear collection. Pugh is no stranger to the digital medium, as he utilised a similar concept in the past to present his A/W 2009 collection. In this instance however, the video was projected onto the ceiling of a C14th Florentine chapel, as a nod to his inspirational source for the collection. Pugh said that he was inspired by Florence, as well as a mix of religious imagery, which is why he decided to remove himself from his usual Paris showing: “I like the idea of mixing hard with soft, masculine with feminine and light with dark. And for this show I wanted create the notion of a figure emerging from darkness into the light.”

Presentation/Performance

Initially, little more than a showcase originating in Chicago apparel markets of the early 1900s, now so much more – presentation may be an event, a happening or a perpetually pioneering cry for attention and publicity. The mediums of presentation have now turned to the digital – to what effect? How have presentational paradigms shifted in contemporary times? What degree of brevity should be attached to the presentational process? Can (perhaps even, should) presentation have as important a role as the actual clothing?

Further to this, an interdependence has long existed between fashion and art, and collaborative efforts between designers and artists have become more common – almost a century ago Dalí and Schiaparelli evoked awe, in 2009 Damien Hirst created a full collection with Levis, in summer 2008, Another Magazine commissioned some of the world´s leading fashion designers to create a dress in collaboration with an artist of their choice. Castelbajac regularly has his artistic efforts exhibited in galleries – the point being, that as time passes the border demarcation is eroded to the point of near non-existence. Thus, is clothing simply moving sculpture, and of more contextual relevance, is presentation (performance) art?

The conspicuously brash fashion shows of the late 90′s and early 00′s are no longer seen as du jour novelties, but instead have become inveterate elements of the process – for an instant, envisage a Galliano show without the pomp, circumstance and spectacle, it simply would not be Galliano. The shows of Galliano, Gaultier and McQueen have in the past drawn heavily from the performing arts such as theatre and opera to create sumptuous visual extravangances – plotless, and entirely for profit. Although, presentational methods today are changing on a case by case basis. Fashion, like other artistic mediums has evolved, embracing the plethora of digital technologies available, which seemed akin to sci-fi as recently as the comparatively technologically umbrageous 80s.

Despite the burgeoning ubiquity of the digital in presentations, it is noteworthy that individuals manage to garner sizable amounts of media attention for minimal financial outlay. Gianni Versace elevated models to the sphere of celebrity using the same models frequently in campaigns and shows, allowing them greater expressive space on the catwalk, perhaps culminating in the lip-synching of “Faith” by George Michael at Versace Atelier A/W 1991. Ever the iconoclast, Alexander Mcqueen, scarcely a decade later, decided that models were replaceable with plexiglas humanoid figurines (Givenchy Haute Couture A/W 1999 [above]). Such an act was ostensibly shocking, as the cult of the supermodel was by then so firmly entrenched. As with any shocking act, headlines were generated, ergo demonstrating aptly the market appeal of the surprising, unseen or neoteric. McQueen used this anti-model approach to presentation to great effect again for Givenchy S/S 1999 when he drafted in double amputee, Aimee Mullins, to walk the show. In recent times, dwarves have walked for Galliano, elderly men for Etro and transsexual model Lea T who appears in Givenchy’s current print ads and most recent show has been generating lots of column inches for the label. Further, because public awareness of fashion culture is heightened greatly during the major fashion weeks due to media coverage, it is entirely possible for a marketing-astute label to forge a particular image of itself in the public consciousness. Thus for instance, through the use of non-models in a show a designer may not only make statements about personal beliefs and opinions but also aid in the construction of an image for a label, e.g. “edgy”, “luxe” etc.

What is mere attention seeking prostitution, and what in genuine avant-garde innovation? Rather than being heralded for their originality, designers and those who orchestrate the presentation are oft derided as attention-seekers. Is it possible to separate novelty from originality? or is it best left to time to decide?

The designer’s initial inspirations and concomitant themes may not be immediately obvious to the viewer – hence, carefully chosen props, stage design, professional hair and make-up and even soundtrack aid the designer in presenting a composite image of his desired theme. For some designers, an entire picture is painted in essence, whilst coetaneously product is deemphasised and demoted to the role of jigsaw piece – essentially unrecognisable as a tangible thing without the complete array of related parts. To dissect an outfit, we find that many of the pieces worn without the others may be more wearable, or often commercially friendly
Oftentimes a theme is unadulterated escapism, offering to transport the wearer from dreary grey cityscapes to romance-infused historical periods or fantastical destinations. The existence of such themes pervade the editorials of fashion publications, ad campaigns and further presentational media. A thematic approach is not imbued with inherent commercialism, however it may be used to achieve these aims. Conversely, themes are frequently used in the presentational processes of conceptual designers, whose themes may be more difficult to convey concretely via aural or visual presentation. Viktor & Rolf provide many examples of this; for instance their A/W 2001 collection was based around the theme of black holes and the effect of a black hole on all that comes into contact with it, thus they worked solely in black, going as far as to paint their models skin black – novel, yes. Flattering, hardly. Commercially viable, no. It should be noted however, somewhat ironically that this seemingly anti-commercial, conceptual approach generates media coverage simply by eschewing accepted prevailing values and practices.

When Victoria’s Secret streamed its S/S 2001 collection live via the company website, an online revolution was set in motion – from a most unlikely source. Transcending language, broadcast range and international barriers; the internet is a marketers dream – an entire global hub of consumers to be shaken down. Live streaming of shows direct from fashion weeks has now become the norm. Labels can simply gain media coverage for introducing technologically fresh features to their websites – as mentioned earlier, novelty almost always gains publicity.

Artists X Designers: A Demarcation Blurs

Giles Deacon X Simon Periton

Riccardo Tisci X Paolo Canevari

Naoki Takizawa X Yoshimoto Nara

Margiela X Gotscho

Christopher Bailey X Annie Morris

Bernhard Wilhelm X Olaf Breuning

I found this online a while back, and I just thought it was interesting how seamlessly fluid these collaborations seemed. A series exclusively commissioned for Another Magazine in summer 2008 – quite old now, yet still strangely timeless.

Merci Fred et Helena

 
 
 
 

“To be is to do” – Socrates
        “To do is to be” – Sartre
               “Do be do be do” – Sinatra

 
 
 
 
 
 
 
 
 
 
 
 
 

Portrait of St. Francis of Assisi

I chose to create a portrait of St. Francis, as he is the closest that the Christian religion has to a patron saint of nature. He is assembled of that which his lord ostensibly created. He represents mankind, religion, power, reverence, chaos and order.

I have always been fascinated by the paintings of the renaissance artist Giuseppe Arcimboldo, and in a sense this is both my homage and response to one of his works: the 1570 painting “Earth”. In his painting, Maximilian II, the Holy Roman Emperor is composed of various animals. His visible torso consists of a lion and a lamb – and in the painting, they are at peace with one another. A suggestion that the power of Maximilian was so awe-inspiring and absolute, that he could alter the inherent nature of animals.

I recognised a parallel here with my own work. My image, in line with the ideas behind my project, presents a contradictory point of view. Clearly visible in my image is a quetzal feasting on a salamander, a tiger pouncing on a kudu’s back and a golden eagle clutching a rat between its claws. Also visible are a meerkat and cheetah cub in close proximity and a hare next to a belligerent Eurasian badger. The whole point of this is my argument that connate behavioural traits are unalterable. The animals act as they do regardless of any greater power – their nature cannot be controlled by any power. Of course, in order for this image to have relevance to my project, the image acknowledges that man is very much part of the animal kingdom (i.e. that which applies to one applies to all) – in fact in my image, he is made of beasts, an overt nod to homo sapiens’ evolutionary origins.

Fashion and Globalisation

        The relationship shared between fashion and globalisation has relevance on a multitude of levels. On perhaps the most overt level, such a topic is inimical to the vacuous image which fashion suffers, and as such, of course pertains to an ambition of my project which is to combat the de-intellectualisation of fashion and to demonstrate fashion’s suitability to express more complex themes and messages than it is commonly noted for. Such discourse has in the past, been seen as irrelevant and thus ignored – this attitude is in itself, is elucidation as it provides illumination to the regard in which fashion is held. Fashion is viewed as vacuous, commercial and, at best an applied art, by members of the art community. Fashion is omitted from art history syllabuses. Acknowledging the sociological and societal importance of fashion is tantamount to deciphering what is to many an enigma, and also to highlighting the impacts and effects of fashion on the world.

A Brief Summary of Globalisation:

The word “globalisation” is ubiquitous in contemporary society. It is a word that conjures up a whole host of varied and disparate images, and is used in multiple contexts, and as such, has an inherent ambiguity, ergo a universally accepted and exhaustive definition is difficult to attain. Cultural, economic and social globalisation are but three of globalisation’s manifold manifestations. In essence, globalisation refers to integration, it fosters and includes the removal of tariffs and obstacles which inhibit global synthesis. It should be noted that in the context of this article, the form of globalisation which is discuss is cultural predominantly. Globalisation has existed in one sense or another for millennia (ancient empires rose, assimilating smaller tribes into a single entity), however since the creation of the League of Nations following the end of ww1, globalisation has burgeoned – supranational organisations, trade blocs and detentes have all become de facto features of the international political arena. Furthermore, accelerated proliferations in technological and communicational fields in contemporary times have acted to increase the positive momentum of globalisation, tearing us from our localities and firmly planting us in the hub of the global village. The internet is the technological breakthrough that brought globalisation to the masses – the beauty of the internet is, of course, that physical location no longer has significance. Financial transactions, business decisions, online artist’s collectives, virtual learning programs – the possibilities are truly boundless. The internet has also acted as the backbone that is supporting the explosion of digital art.

Fashion in the Contemporary Climate

Global fashion is both an element and a catalyst of cultural globalisation. Macrocosmic seasonal trends that abound in Singapore will also be evident in LDN and NYC. Major labels consistently have an international presence – oftentimes, a label may be most popular miles from it’s country of inception – probably the most famous example of this curious phenomenon is Louis Vuitton, whose popularity was revitalised and place in popular culture assured through success in Japan, and later collaborations with Japanese Pop Artist Takashi Murakami. Major labels, such as those under the umbrella of luxury super-corporation LVMH spur the advance of globalisation, by advertising and selling worldwide and offering globally uniform collections, they contribute to cultural hybridization, as exclusively indigenous forms of dress become passé, in favour of fashion with a distinctly more international flavour.

Chains of fashion learning institutes have gone global – Esmod (l’Ecole Supérieure des Arts et techniques de la Mode), which was founded in Paris in 1841, today has developed an intercontinental network of institutes of learning. ESMOD has colleges in Berlin, Munich, Beijing, Beirut, Damascus, Dubai, Jakarta, Osaka, Tokyo, Oslo, Seoul, Sao Paolo, Souse and Tunisia. This is interesting as they offer a standardised teaching method – highlighting the homogeneity of fashion creation globally; a flagrant example of cultural de-heterogenisation. Interestingly enough ESMOD, has found a home in both devout Muslim countries and hotbeds of Christianity such as Brasil – this may seem at first peculiar given that it is both a western institution and one that is associated with fashion, which is typically associated with Western ideals of Capitalism and consumerism (whether or not this connection is valid or not). It is certainly indicative of the effect of globalisation, and the cultural homogeneity that it facilitates.

Both commercially successful designers such as Dolce & Gabbana and experimental conceptualists in the vein of Rei Kawakubo, regularly appropriate aspects of various ethnic costumes and integrate them into their collections – this of course leads to situations in which, for arbitrary example, a Japanese girl is wearing a garment inspired by a Nigerian dashiki and so on. This undoubtedly is an integral part of cultural hybridization, as of course regional clothing styles were in the past prominent differentiators between disparate (and previously unique) cultures. Today there is no contrast – a Nike t-shirt offers no hints to identify a particular culture, and previously worn indigenous costumes have been relegated to historical re-creationism.

Moreover, fashion, as an effective art-form, is a medium of self-expression. However, globally there has always been a diverse range and culturally exclusive mediums in which people expressed thoughts, ideas and emotions. For instance, wood carvings from Benin, or coloured beads amongst the Zulu people – as globalisation proliferates we have been exposed to a multitudinous barrage of different mediums. Early art from Africa has oft been most pejoratively labeled “primitive” or “naive” art. This is typical of the western scheme of thought regarding fine art which has always had narrow parameters and stratifications in which labels flourish and abound. A creative genius such as Henri Rousseau has frequently been labeled an “outsider artist” due to his lack of formal training. The point here being, that in order to express oneself in an accepted western sense (whether this be fashion or otherwise), one must conform, thus eroding indigenous creative practice – leading to cultural uniformity.