[...]& continually converting the erratic power of our desires into a kind of motion that can be effectively capitalized upon

(brackets and bracelets)

...momentary and marvelous sensations of free fall (by way of design)

="frds scrmbld">Janina's wardrobe malfunctions

="large lg2" stl="font-size:110%"> ='strcls'>*the fine line between sexual liberation and sexual exploitation (in Space 1999 and ="ppl">="ppl">Star Trek uniforms)='strcls'>*
(="ppl">="ppl">="trms"nttrm="search">Archer='lgc'>:) “="ppl">="ppl">Star Trek's futuristic costumes assert their ‘other-="trms">worldliness’ by emphatically exposing as much of a woman's body as possible to a relatively prudish American public during the peak of the sexual revolution. Theiss’ garments were ="trms">literally devised to slip back into the legacies of shame that had heretofore defined the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of sexual ="trms">difference and the litany of unequal gender ="trms">relations that followed.”

() the artist and his muse (typically gendered image of the ="trms">fashion designer and his model) ='lgc'>='lgc'>--> based on the classical notion of an unhampered and ="trms">naturally feminine ground of conception ='lgc'>=/= masculine drive to be “creative” ='lgc'>: (old notion that) “woman is the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin ='lgc'>==> it is up to man (Gernreich) to be o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal” ='lgc'>='lgc'>--> to re="trms">fashion feminine mater-iality into more meaningful forms

easily inscribed and ="trms">veiled shame of nudity

='strcls'>*hyper-exposure='strcls'>* and ='strcls'>*self-consciousness='strcls'>* (aimed at the shame ‘we,’ who live within ‘the cultures of the textile,’ are possessed by)

...deep-seated knowl="trms"nttrm="knowledge,Knowledge">edge that the textile leaves us continually and hopelessly exposed


='strcls'>*our need to be forever wrapped-up in the text/ile='strcls'>* ='lgc'>: endlessly bound by the perpendicular, criss-crossing of one another's desires and the ‘significances’ we ascribe to such satisfying pre="trms">dictability


textile screens

textile’s discursive usefulness='lgc'>: its ability to support and exploit the image of our “alternative” identities

(="ppl">Lacan's) objet petit a ='lgc'>: prediscursive, meaningless thing’


textiles (and the clothing shaped from them) are not “convenient things” that help curtail or discipline our desires (by properly ="trms">veiling them), rather, they are the very object cause of our desire

capturing and suspending our desires in fabricated flights of fancy ='lgc'>=/= a sieve (alak) to pass through ="trms">onto places unknown/unknowable



="trms">embodied politics of impropriety

rethinking how ‘the body’ is typically ="trms">interpolated, along temporal lines

the medium of the textile (='lgc'>='lgc'>--> ="trms">fashion's main medium ='lgc'>='lgc'>--> th="trms"nttrm="already,spread">read of sexual ="trms">difference running through this fabric)

...styles that are not pre- or over-determined by a dua="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic form of sexual ="trms">difference

sartorial scheme

abstracting the concept of ‘the body’

attire

(more) body's ="trms">social ranges of movement
(more) flexible corporeal ="trms">aesthetics and ="trms">articulations


='lgc'>{Edie's odd,protracted sleeves of her dress in Warhol's ICA exhibition 1965='lgc'>} the surreal transformation of a woman's arm into a pachyderm's long, wily, and ="trms">authority-defying appendage...

="large lg1" stl="font-size:133%">
the conventional and deeply gendered notion that ="trms">fashion is “='lgc'>[ephemeral='lgc'>], frivolous, relegated to the domain of the feminine and the body, as opposed to art, which ='lgc'>[is='lgc'>] deemed ='lgc'>[eternal,='lgc'>] masculine and placed in the sphere of the mind and psyche” (="ppl">="ppl">="trms"nttrm="search">Archer > Geczy and Karaminas)

and='lgc'>='lgc'>--> ="trms">intertwining of ="trms">fashion and art has long been regarded as absolutely key to the production of the ="trms">modern ="trms">social fabric='lgc'>--intended (like the warp and weft of a textile) to remain discreet, always perpendicular

="trms">modern ="trms">aesthetic theory ='lgc'>='lgc'>--> contradictory structure of ="trms">difference of “="trms">fashion ='lgc'>=/= art” ='lgc'>: “="trms">fashion design='lgc'> = art's constitutive other” (= that mode of creative production that is beholden to the ="trms">market and to the manufactured whims of the ="trms">embodied, ="trms">consumer passions ='lgc'>=/=='lgc'>{ art's singularity, extraordinariness, ='lgc'>[="ppl">Nietzschean ethics of='lgc'>] standing alone ='lgc'>==> timeless or universal knowl="trms"nttrm="knowledge,Knowledge">edge ='lgc'>=/= ‘everyday culture'='lgc'>})

radical beauty of the quotidian

mundane ="trms">material culture is repeatedly ='strcls'>*elevated='strcls'>* and “="trms">translated” into art ='lgc'>='lgc'>--> “losing its place within lived reality ='lgc'>==> to become critically meaningful” ='lgc'>=/= (Gernreich's) art and ="trms">fashion critically transformed so that they run parallel and start to resonate with one another

(for ="ppl">Benjamin) ="trms">translation ='lgc'>[='lgc'>='lgc'>~= criticism='lgc'>]='lgc'>: allowing (="trms">translatior's) ="trms">language to be powerfully ="trms">affected by the foreign tongue ='lgc'>[='lgc'>=/= preserves the state in which (="trms">translatior's own) ="trms">language happens to be='lgc'>]
="prgrph">-to transform “the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal” text/thing through the medium of the other, echoes that are produced in the space that opens up between an “o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal” and “secondary” text ='lgc'>='lgc'>--> ='lgc'>[='strcls'>*='lgc'>]="trms">translation='lgc'>: inconsequentiality of o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal/secondary separation
='lgc'>--Gernreich='lgc'>='lgc'>--> to make clothes in-between art and ="trms">fashion (now and the future, the self and the other)


it-girl

Beatlesque escape

new paths that young people are charting requires clothes



(="ppl">="ppl">="trms"nttrm="search">Archer is making me ="trms">interested in ="trms">fashion by helping me go through the) economic and scopophilic grains of the ="trms">fashion industry

='thdf'>the idea of the ‘new look’ absolutely dominating the ="trms">fashion s="trms">cene during the mid 21st century
‘new look’ ="trms">fashion strictly obeying the laws and divisions of optically delineated ="ppl">Cartesian space, and its attending ="trms">epistemo-="trms">ontologies and political economies (-="ppl">="ppl">="trms"nttrm="search">Archer='lgc'>: the proportions of Dior's famous silhouette absolutely required that one always take a well-heeled “step-back” in order to comprehend themselves in a mirror, a camera lens, or even a street window) ='lgc'>='lgc'>--> (offering ="trms">consumers new manners in which) to dress, but also ='strcls'>**to see and to understand themselves and their potentiality='strcls'>**

='lgc'>[myself, like many critical artists of my generation, we glean (harvest خوشه چينى) the occurrence of ideological violence='lgc'>]

relaxed clothing shapes
affordable
easy-to-care-for
mix-and-match fabrics
hyper-="trms">modern color combinations and patterns

="large lg3" stl="font-size:110%">
couture خياط زنانه

animosity, bad blood, animus's ="trms">system, the ="trms">system is made

perennial enfant terrible
(the naked constant prince)

="large lg4" stl="font-size:111%"> ="trms">social change ='lgc'><== ='strcls'>**="trms">fashion must (and will) go out of ="trms">fashion='strcls'>**
Gernreich's economic critique of the ="trms">fashion ="trms">system ='lgc'>--='qstn'>?='lgc'>='lgc'>-->='lgc'>{ disregard of the wearer's comfort which is an obvious feature of all civilized woman's apparel ='lgc'>==> conspicuously figured the middle-class woman caught-up in the middle of the ="trms">fashion ="trms">system as being utterly passive and woefully un="trms">imaginative ='lgc'>='lgc'>-->
="lsts lst1">•seeing woman's ="trms">fashionable trans="trms">figuration only in terms of what it properly signified within the bounds of a patriarchal civil ="trms">society and a capita="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list economy
="lsts lst1">•failing to appreciate the pleasures that ="trms">fashionable styles offer their wearers in spite of the physical and ="trms">social restrictions they impose
='lgc'>}='lgc'>='lgc'>--> parochial economic critique (operating in a wholly rational realm) ='lgc'>=/= (Elizabeth Wilson='lgc'>:) how these ‘transforming actions’ might do violence to these orders ='lgc'>--="ppl">="ppl">="trms"nttrm="search">Archer='lgc'>='lgc'>--> ='strcls'>**how the powerful and highly volatile work of desire un="trms">folds within the ="trms">fashion ="trms">system='strcls'>**

='strcls'>***oppression ='lgc'>=/= passivity='strcls'>***

Gernreich ='lgc'>='lgc'>--> ="trms">fashion ‘works’ not simply by way of its significant expense, but rather at ='strcls'>*the expense of signification='strcls'>*

='lgc'>{ ="trms">fashion='lgc'> = fantasy ='lgc'>}='lgc'>==> ="trms">fashion offers our desires a medium through which='lgc'>:
="lsts lst1">•to formally manipulate the discourse of the body
="lsts lst1">•to violently threaten the rational ordering of its meaning
="lsts lst1">•to from which to produce pleasures that exceed satisfaction or sense
="lsts lst1">•to operate on the text/ile in ways that are non-="trms">linguistic (within waking life)


="large lg5" stl="font-size:167%"> ="ppl">Lyotard's “the dream-work does not think, but ‘manhandles’ the text and operates on the text as if it were a ="trms">material” ='lgc'>=/= ="ppl">Lacan's “the unconscious is structured like a ="trms">language”

="ppl">Lyotard on ="ppl">Freud's assumption and insistence that the textures of a text ="trms">affect its meaning ='lgc'>='lgc'>--> ="ppl">Lacan's fai="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure (as analyst and philosopher) in not being able to appreciate how fantasy (='lgc'>~ the forms of desire ='lgc'>~='qstn'>? ="trms">fashion) pits the ="trms">materiality of signifiers against what they try to signify

“if desire is the mobile element (here the wind, elsewhere water) that crumples the text, can it also be the fixative which keeps certain parts of it ="trms"nttrm="already,spread">readable='qstn'>? I know of only one notion which can satisfy these conflicting ="trms">demands='lgc'>: ='thdf'>the notion of form, of fantasy”

(my struggle with my colleagues) not to confuse ="trms">fashion ='lgc'>[or any object='lgc'>] for “an object that the subject ="trms">imagines and aims at” instead of recognizing ="trms">fashion as “a s[...]