March, 11th, 2015

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AESTHETICS OF KITSCH

Dressing #kitsch and #chic as a fashion statement should not be seen as a tracing of the reality of granola, but rather as an act of visual deconstruction. Indeed the current trend for dressing tawdry or oversentimentally raises key differences between the reality and the representation of taste but shows them to be not necessarily at odds chez #MIUMIU. Kitsch (coined in 1861 in #Munich) aims for art, maybe tasteless, often tactless, but still an unpretentious idea of art. The taste and decay that fashion consumerism seeks to mask is paradoxically at par with it. While sometimes posing as a reaction to the vulgar and qualunquismi elements of contemporary life, it is also fundamentally, indeed inevitably, a style that is also a consumable. The concept of an “aesthetics of poverty” coined by #HaroldKoda – Curator in Charge, The #CostumeInstitute @METMuseum – in 1985, has been appropriated twenty years later today by #Miuccia.@Prada as “Aesthetics of Kitsch” with its granny knits and jaune canari oversized croco coats. To unpack #fashion is to unpack it as cultural [de]signs, consumable and evidence of broader historical and social processes. An irony played out brilliantly by @MIUMIU for the middle and upper classes. Such is the difficulty in pinning down the meaning of the clothes in the #FW15 shown au Palais d’Iena. #MiucciaPrada keeps inspiring a range of emotions in the fashion and mainstream press, including admiration and eyebrow-frow, amusement and respect. Cerebral as always. Commercial as always. Qualunquista bourgeoise, forever.
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#ALESSANDROBERGA | L’ÉDITOR
#PARIS #PFW #MODEDIPLOMATIQUE (at Miumiu – Palais D’iena)