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Striking similarities in the language of art and fashion

February 10, 2019 by Aynura Maye

Art and fashion have their wonderful ways to step in to say in a very crisp manner what the words are too shallow and too vague to utter. And even what I find astonishing is how different forms of art can translate and communicate shared feelings and sentiments in a strikingly similar fashion.

“Artfully” distracted and fragmented

Apollo in defragmentation, Marta Minujin. Photo: Instagram account of Marta Minujin

Let me get a bit specific. Before moving to Italy (when fashion was not really my area of interest), I was in Argentina mostly studying psychoanalysis and interested in many ways that art could communicate the most ineffable notions of our psyche. After moving to Italy, fashion became another fascination of mine in a way how it can be the mirror to the cold reality of our times and wishful hopes of our hearts. Since I moved to Italy three years ago, I can’t really differentiate between art and fashion. Not that I see the all pieces of garment as a piece of art. Yet I believe, each final product somehow says so much about the designer. Not about what the designer wanted to communicate, but what was really her/his state of mind, what she/he was living through or what was running thru her/his mind during the process.

Maison Margiela, Couture 2018. Creation of John Galliano to express defragmented, nomad mind. Photo: Internet

Sometimes, the similarities I see in ways art and fashion communicate shared human sentiments are striking. One of such similarities I’d like to talk about is between the art installations of Marta Minujin, an acclaimed Argentine artist and John Galliano, well-respected designer of Maison Margiela.

Little background information for those who do not know Marta Minujin. This flamboyant artist hails from Argentina and is the queen of pop art, performance art, “happenings” etc. She was a friend of Andy Warhol. I loved her free, deconstructive, mind provoking installations. Back in 2010, she explained her fractured monuments and statues as follows – we are so distracted, bombarded with lots of information in every given second, it is hard to pull ourselves together. This theme manifests our confused, defragmented state of mind, all over, never concentrated.

“Fashionably” decayed

As we lived along the collective concussion caused by the digital disruption more-less the same concept translated into the Couture pieces of John Galliano in his 2018 collection presented in Paris with strikingly similar designs – fragmented, layered, kind of all-over the place, nomad minds.

Marta Minujin against her own installation, Photo: Internet

A year passed. Came along another Couture week. Maison Margiela presented an outstanding presentation of “walking art pieces” translating decay, artifice, excess. Almost the same concept of some other installations by Marta Minujin – which I see as an expression of our current badly-functioning memory unable to forget (ditch), clean, organize and systematize. State of serious confusion.

Excess, decay in the creations of John Galliano, Maison Margiela, Couture 2019

Now I am looking at photos and still can’t get over how sharp the language of art and fashion could be in transmitting a message that the words are powerless to describe. Above all, how some shared sentiments can translate into strikingly similar visual messages by different forms of art.

Filed Under: Fashion Tagged With: art, fashion, John Galliano, Maison Margiela, Marta Minujin, similarities

Gucci’s Garden of Earthly Delights …. Where to Look for It?

May 14, 2018 by Aynura Maye

What’s in there for me: Something big – a solid answer for this much debated topic of humanity. It would be naive to take The myth of Creation as a historical record. In fact, the first stories of the Garden of Eden date to a much later date than the earthed bones of early hominids, Homo Habilis. I mean, we talk about some 2 million years of difference. So, at the time the Eden’s Story was born, our ancestors already had some sort of clothing. It was not Gucci obviously but they had already covered their private parts. In short, this story is not a historical record. It is not biography of Adam and Eve either. It is a symbolic illustration of how our psyche has experienced the process of evolution, namely, the birth and separation of the consciousness. It is the way how our unconscious translated the process of growing consciously different from the rest. And it is also the story of hope. Hope for what? Read the full post to find out.

Read the blog post “That wasn’t technically fire – what was it?” to learn more about the nature of the conscious and the symbols that illustrate the pain of being consciously different.

The full post starts here.

With arrival of Alessandro Michele, Gucci has become a Garden of mystery. Some interpretations are unnerving to me, I accept. Regardless, I love scrolling their Instagram feed full of mystical and historical references.

This is my first try of Gucci and I’ve chosen a widely known myth of Garden of Eden with “fashionable” touch of Ignasi Monreal.

Rework of Bosch's Garden of Earthly Delights by Ignasi Monreal for Gucci. As usual, he beautifully mixes mythical with mundane.
Rework of Bosch’s Garden of Earthly Delights by Ignasi Monreal for Gucci. As usual, he beautifully mixes mythical with mundane. Photo: Internet

Our First Parents? Dressed in Gucci Style or Nude?

The original version of this retouched artwork is visually somehow different from “conventionally accepted” image of Garden of Eden as it carries quite some touch of author’s own visions. But the storyline is similar. We are talking about origins of universe and emergence of our first parents.

It is amusing to learn the fact that the first stories of Garden of Eden date to a much later date than the earthed bones of early hominids, Homo Habilis. I mean we talk about some 2 million years of difference. In other words, talking chronographically, when Adam was kicked out of that Walled Garden of Eternity and landed on mortal Earth, this place had already been populated with his fellow species long, long time ago. I am sure, he didn’t feel lonely. By the way, I guess they already had some sort of clothing.

Part of the original art "Garden of Earthly Delights" by Bosch. Photo: Internet
Part of the original art “Garden of Earthly Delights” by Bosch. Photo: Internet

Life in Garden of Delights – Not as Stylish as Gucci’s

Let’s see before being kicked out how was his life. Adam was in Garden of Delights enjoying his lazy and solitary yet immortal life. At the center of this Garden there were two trees – the Tree of Knowledge and the Tree of Immortality. There were four rivers in the garden, flowing from inexhaustible sources in four directions to keep the world refreshed. He was bored, so God created his counterpart, Eve out of his rib.

The treacherous serpent curled around the Tree of Knowledge whispered about the marvelous forbidden fruit of the Tree to the woman. Obviously she gave in, because, she herself is a symbol of temptation (in the eyes of Adam). She even convinced Adam. They tried the fruit of the Tree of Knowledge and suddenly became aware of their differences and got ashamed. They got expelled from the Garden for eating that fruit. To make things worse, the God put two wrathful protectors in front of the gates so that they couldn’t sneak in.

I am writing another post about this lower relatedness aspect of woman as homage to the Gucci’s Great Hermaphrodite art work. Also a separate post about Snake. Stay tuned.

Absurdity All the Way

Although ridiculously absurd, this story runs along the texts of all of Abrahamic religions. Even uncontaminated cultures have their own versions with similar symbolism – precisely, the Tree and the Snake. How one can believe in this bizarre story and actually consider it as actual records of beginning of the universe while our facts are telling us a totally different story? Now one needs to ask this question – did really this place exist?

Answer from psychoanalysis is yes and no. No, because, there is no Paradise (walled enclosure) on an already well-explored Earth. Yes, because, it is our inner reality and this explains why such a weird absurdity has managed to gain so much fame. It is not a historical record of the origin of the universe. Yet it is how our psyche has experienced the process of evolution, namely, birth and separation of the consciousness. This story is manifestation of man’s longing for pre-conscious sense of totality in symbolic language of unconscious. But it is not only about longing, it also talks about hope.

Second Look at Symbols

Let’s get into translation. It turns out that it was the Knowledge, the Awareness that put us behind the protected doors. It was time for us to get out of that Garden. So that treacherous Snake – the symbol of “Eternal Wisdom” set up the “plan”.

At some point in evolution, we developed a capacity to judge everything in terms of good and bad which we perceive as fear and desire. In mythological language, our first parents “ate the fruit of knowledge” and became self-aware – the characteristic feature of consciousness. So it was the nature of our reasoning that closed those doors to our face.

Self-awareness was not the only revelation. Then it downed upon them that there is a thing called death while they are lustful creatures with desire to live. So fairy tales abound with stories about search of elixir of life and man’s desire to transcend mortality. Because, although we can’t taste that bliss any more, we haven’t lost the knowledge that there is a dimension of our nature that transcends mortality.

The Cost of Being Consciously Different

This differentiation of ourselves, development of consciousness has cost us to lose that “eternal, timeless completeness” – the period now babies experience from the moment of conception until early development of consciousness (does that explain why they are good at being happy?). Then for the rest of life try to experience it again.

Read the blog post “That wasn’t technically fire – what was it?” to learn more about the nature of the conscious and the symbols that illustrate the pain of being consciously different.

Religions are our cry for such transcendence – our hope to transcend this carnal world of duality to experience that “timeless delightful state”. Because it is when the “self-aware” consciousness will let go its petty “me and mine” game and will experience transcendence through self-sacrifice and submission to higher order. Enduring spirituality is where he hopes to experience these delights that are beyond duality of opposites – worries and desires, temptations and fears, light and dark.

Paradise… Where is it?

But not all is lost. That walled eternal land still resides inside each of us, in the depth of our dark psyche, protected by cultural ogres, fire breathing dragons, many-headed scary creatures, which we come across in myth and fairy tales. They are personifications of our worldly attachments and survival instincts. Remember, the God put two frightful monsters in front of the doors?  We are talking of the same thing now. The way to return there is to defeat all these roaming instinctual forces and give back that “fruit”, which made us aware of ourselves and our surrounding. In other words, sacrifice our consciousness. Precisely, the way to immortality goes through Death, let it be physical death or symbolic death to our worldly attachments.

Only thru total renunciation of ego-oriented attachments the return is possible to that state of eternal bliss free of worries and temptations. But this time the experience is not that of a baby. It is that of a mature person in the form of immortality of spirit. Nothing carnal.

Related posts:

That wasn’t technically fire – what was it?
The Secret Story of Symbols”
The Unconscious – The Great Mother, The Conscious – Overconfident Kid

Filed Under: Fashion & Myths Tagged With: Alessandro M, Alessandro Michele, alta moda, art, conscious, fashion, Garden of Earthly Delights, Gucci, high fashion, Ignasi Monreal, Paradise, psychoanalysis, unconscious

Abnormal sexual desire, art and Louis Vuitton…

May 5, 2018 by Aynura Maye

 Her polka dots are not mere dots:
For her troubled mind dots are female genitals, tentacle-like structures phallus.

About six years ago some concept stores of Louis Vuitton got decorated with sublime and fascinating art works by one of the most renowned Japanese artists Yayoi Kusama. They were so beautiful and enticing that I’d be surprised if high fashion nerds forgot them.

Yayoi Kusama pumpkins with polka dots. Pumpkin by its form is similar to "vessel", the receiver - the female quality. Polka dots symbolize female genital. Photo: the Internet
Yayoi Kusama pumpkins with polka dots. Pumpkin by its shape resembles alchemic “vessel”, the recipient – the female quality, the womb. Polka dots symbolize female genital. Even more subtle here, dots on the pumpkins are arranged in snake-like shape. Besides being a classical symbols of the unconscious, the snake is also an unmistakable symbol of the androgynous nature of the human psyche.  Photo: the Internet
 

A year forward and I am busy with my studies on psychoanalysis, especially Freud’s theory on repression of sexuality in Buenos Aires. The place where I lived was very close to the largest modern gallery in the city called Malba. One day while passing by I see the trees in front of Malba dressed in red with white polka dots – that remarkable signature design I remember from a year ago. Malba was hosting an exhibition of Yayoi Kusama. The trees looked intriguing and beautiful. I resolved to go and see what it is about.

Shoes with phallus. the complimentary detail to red polka dots of Japanese artist who also designed for Louis Vuitton.
Yayoi Kusama shoes with phallus as demonstrated in Malba, Buenos Aires, 2013.  Photo: The Internet

In Museum: polka dots, but also phallus

Next day, I enter Malba and the first impression I have was – God, this is what classical Freudian wish fulfillment of excessive sexual desire and irrepressible conflicting impulses looks like. Interestingly, her polka dots became famous and made it all the way to the world of high fashion and beyond just the way they were. However, another important detail accompanying those dots was so beautifully disguised into unsuspecting snake-like shapes, or tentacles as critics called them, in Louis Vuitton installations and went almost unnoticed – her obsession with phallus. Maybe, for a reason, otherwise that would have been too perverse, who knows. Maybe not. 

 
Chairs covered with phallus, the complimentary detail to red polka dots of Japanese artist who also designed for Louis Vuitton.
Yayoi Kusama art – chairs covered with myriad of phallus exhibited in Malba, Buenos Aires, 2013.
Photo: The Internet

Tentacle-like art and polka dots: penetrator and recipient

Unlike her fashion installations, the view of tentacle-like elements covering every object was more prominent in the exhibition venue. These objects covered the things that we normally use to lay over, sit upon or wear such as sofas, couches, chairs, shirts even shoes. They basically covered everything one can imagine, even pasta, anything that we can touch. The photos with herself covered in dots laying over these thorny sofas decorated the walls.

By now, it is pretty much clear that polka dots all over her, analogous to the genital organs, represent vagina.  On the other hand, everything else that we can touch has grown innumerable phallus. It was a classical portrait of Freudian wish fulfillment of incompatible sexual desire. The vividness with which she depicted her troubled state of mind was chilling. These art works were explosive manifestation of deeply repressed conflicts. The curiosity took me to study her life. In some places she talks openly about her revulsion to sex. Maybe, it rooted in her troubled childhood experiences of the relationship between her parents too.

So her art, to me, was basically free ride of deeply conflicting urges. On one side, her revulsion of sex, on the other side, her strong desire for it. On top of all, she had to numb this internal storm against the backdrop of strict social frame. It feels like, it has been too much to stomach and at some point, she has let it go.

Obsession – Morbid dark impulses in psyche

It seems she had full divine experience in dots and phallus, she felt the creative power of universe in them. Here comes to mind Indian Gods Shiva and Shakti. However, her experience was reverse, regressive and destructive. Instead of leading them towards a fruitful and meaningful experience, she became overwhelmed by them. She lived it not in the form of celestial experience, but as morbid obsessive forces chasing her to insanity. She kind of talked about it openly through art and this is what she labels as “obsession” – let it be her phallus chair, mirror rooms or dotted pumpkins – automated instinctual impulses that tend to magnify, augment and overwhelm. 

Sexuality and Spirituality – why are the same thing in the depth of our mind? – Read this post to see why Kusama’s art made me think of God Shiva and Goddess Shakti

Filed Under: Fashion & Myths Tagged With: abnormal sexual desire, art, bag, fashion, Louis Vuitton, luxury, LV, myths, phallus, polka dots, psychoanalysis, psychology

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Aynura Maye

Currently exploring the know how of Made in Italy through the stories of those who create it. Individuals.

Also, tracking fellow youth from my land Azerbaijan who built themselves in Italy.

Enjoy xx

Aynura

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