Modernism shattered the notion that art is a sublime and silent medium and infused it with expressive power and natural reaction. Throughout history, art and fashion have mirrored contemporary technological advancements.
In the past century, pivotal developments such as the invention of the printing press, the onset of industrialisation and the rise of the digital era have reshaped the trajectory of modern and contemporary art.
Recent stylistic movements have positioned contemporary art as a conceptual practice, characterised by multimedia experimentation. This art is aware of its cultural context and responds dynamically to the space it inhabits.
‘This art is aware of its cultural context, and responds dynamically to the space it inhabits’
Following the global pandemic, there has been a notable rise in eccentric and whimsical maximalist silhouettes, in the world of fashion, carving out a distinct niche in Western urbanwear. This trend reflects a collective desire to dress boldly and embrace unique public self-expression, a direct reaction to the restrictive conditions of mandatory quarantines.
Such maximalism has also emerged as a counterpoint to the Western obsession with minimalism, as people have grown disillusioned with the neutral, austere minimalist aesthetic. Maximalism opposes the confines of the capsule wardrobe concept, embodying a broader rejection of normative constraints — a theme that has long underpinned both art and fashion.
Artists from the post-Great War era sought to transgress the traditional margins of art and identity, incorporating the futuristic ideal of the cyborg in their work. These artists navigated the tension between self-expression and machine-age dehumanisation in the context of an era marked by the rise of mass industrial production, marking a critical turning point in art history.
DADA, the movement founded during and after the First World War, was heavily shaped by this era’s rapid technological advancements. The term ‘Dada’ is believed to be deliberately nonsensical, reflecting the movement’s embrace of irrationality, satire, and humour as a form of protest against contemporary politics and bourgeois culture.
The Dadaists were greatly impacted by the first encounter of technological warfare which led them to incorporate themes related to the rise of an authoritative machine culture into their work. This theme contributed to the unification of humans and machines, particularly through the rise of machine-age portraiture. The pervasive sense of insecurity and dehumanisation in society, as everyday tasks were increasingly mechanised, became central to Dadaist critique.
The Berlin Dadaists actively engaged with mass media through their magazine Der Dada. First published in June 1919, the periodical allowed leading Dadaists to showcase their earlier experiments and ideas. Common themes among these works include their longstanding issues with the human body, the transformation of everyday life and a critical examination of mass media.
Dada sought to infuse new forms of sensation and meaning into the human experience, challenging conventional modes of perception and societal norms.
Marcel Duchamp is possibly the most renowned artist from the Dada movement. Through his ready-mades, Duchamp challenged what art should be and how it should be made. He selected mass-produced objects, asserted their artistic quality through a signature and classified them as art.
Duchamp argued: “An ordinary object [could be] elevated to the dignity of a work of art by the mere choice of an artist.” The absurdist collection of Supreme object accessories complements this notion. Their logo transformed mundane objects into highly sought-after collectables.
‘The logo transformed mundane objects into highly sought-after collectables’
Since 1994, Supreme has created consumer hype from street culture. Their logo, borrowed from Barbara Kruger’s photolithograph titled, I shop, therefore I am, 1990, indicated a longstanding relationship with art and mass media culture.
This work by Kruger signals her frequent practice of combining edited found photographs with provocative phrases. Her interest in feminism and critical theory is evident, as the artist comments on the ideological messages that infiltrate daily life through mass media channels.
Following extensive discourse on the creative property of Supreme’s logo, James Jebbia acknowledged that the logo was influenced by Kruger, but stated that the brand never intended to appropriate her designs. Kruger was quoted stating ‘I don’t own a font’, and her idea of intellectual property is rather fluid.
Either way, the conflicting and ironic juxtaposition of consumerist messages cannot be overlooked. Kruger’s work essentially criticised a society swaddled by a toxic capitalist model, yet the same work inspired a logo for a brand that would evolve into a centre for consumerism.
‘Extinguishing the conventional Less is more rule, the Maximalist movement celebrates surplus’
Periods of art and fashion history have been differentiated by alternating periods of excess and restraint. Extinguishing the conventional ‘Less is more rule’, the Maximalist movement celebrates surplus. In this sphere, silhouettes are carefully curated and often incorporate ready-made elements.
In 2019, Melissa Marra-Alvarez, curator of education and research at The Museum at FIT, curated an exhibition titled, Minimalism/Maximalism, hosted at The Museum at FIT. This was the first exhibition to display the historical intersection of minimalist and maximalist expressions of high fashion. The exhibition centred around the evolution of the relationship between the two styles, beginning in the 18th century and advancing into the 21st century.
The contrast between Maximalism and Minimalism is reflected today, as Alessandro Michele’s recognisable vision of extravagance opposes Nicolas di Felice’s futuristic direction for Courrèges. As the Italian fashion designer and creative director transitions from Gucci into Valentino, one can expect to see more eccentric pieces following the recognisable vision presented in this week’s debut show.
Coco Chanel’s modernist jersey knitwear reacted to the intense ornamentation of Belle Epoque aesthetics. The 1980s ostentatious glamour and variety of extravagant looks by designers such as Thierry Mugler and Gianni Versace was countered during the 1990s by the austerity of designs by Helmut Lang.
‘Maximalism unveils its spectacle when stylists incorporate found objects and inflate a non-functional style.’
Besides runway fashion, the juxtaposition of Minimalism and Maximalism is expressed through social media platforms. Particularly through the ‘clean aesthetic’ compared to the Maximalist aesthetic expressed by various content creators such as Sara Camposarcone and Myra Magdalen. Both creators often incorporate found objects into their extravagant compositions and display a unique sense of identity.
Themes of identity and the search for unique individuality seem to echo those expressed during the Dada movement. Through fashion and art, the Dadaists created modern allegories to reconstruct human identity. These artists sought to explore the blurred lines between man and machine.
Apropos to today, the streamlined wartime minimalist aesthetic ran concurrently with the eccentric Dada movement. Today, the growing Maximalist subcultures oppose the mainstream Minimalist aesthetic.
The cyclical nature of fashion and art appears evident and was highlighted through Marra-Alvarez’s exhibition. Contemporary trends continue to revisit and reinterpret historical movements, reflecting the ongoing dialogue between past and present.
The series of articles is centred around themes of art, fashion and national identity in post-colonial regions. See the full article, including additional images and Rebecca’s sources.