Talking Tuesday: Fear and Clothing

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Sometime in November, on the good advice of Lynn at American Age Fashion, I purchased Cintra Wilson's book, Fear and Clothing: Unbuckling American Style.  The book did not disappoint.  It was my first foray into Wilson's work, and I found her bracing tone enjoyable--hilarious at times.  (Her take-down of Washington DC style had me rolling on the floor). 

There were moments when I thought Ms. Wilson walked right up to the line of being offensive, but she often turned it around by a very insightful observation about her own shortcomings.  The book is organized roughly by regions, and she visits many different parts of the country in her quest to understand the particular sartorial leanings of an area and what it says about the people who live there. 

Where the book really shines, however, is toward the end, when she turns her lens on New York City, her home for many years.  Her observations about how fashion mirrors larger social trends (for good or ill), how human labor is increasingly devalued, and the ways in which capitalism twists our desires are razor sharp.  I found myself dog-earring pages and nodding along.  

Writes Wilson:

"I figured out what was really bothering me, finally, in a sea of $188 T-shirts.  I felt something vital to mankind was being violently ignored to death.  The commodity that is currently the most undervalued thing on earth is the attention, care, and labor of individual human beings. 

When you devalue actual labor--when you falsify and fetishize a look of artificial work and legitimate heavy use in a garment--how does this corrupt our ability to recognize and value actual work?  The dignified patina earned by objects of actual use and usefulness?" (pp. 225-226).

She also makes a few interesting observations about fashion in the culture that I had not considered. First, she notes that there has been virtually no change in fashion for the past 20 years or more, putting our culture in a sort of strange stasis.  This may seem unimportant, given the state of the world, but fashion tends to reflect the larger state of things. 

By way of example, you can date early 1940s garments against late 1940s garments because the lines are so different.  Early 1940s were war years, and the garments are utilitarian, military-inspired, and defined by rationing.  Late 1940s are post-war years, and the clothing reflects the softer civilian milieu and the desire for things to get back to "normal."  You could never look at clothing in 1970 and compare it to 1980 or 1990 and say there had been no change!

The stasis of fashion speaks to our Internet Age, which seems to produce nothing new, but rather recycles cultural nostalgia, comodifying and flattening the original meaning of it until it means nothing (pp. 242-43).  Plus, as Wilson and other culture watchers observe, all the fashion ages are happening all at the same time--there is literally a sartorial niche for everyone, and if everything has a niche, there is no place for fashion to push the boundaries (p. 276). 

Historically, fashion has pushed lines, change boundaries, making conversation about who we are. If there is no boundary, if all the rules have been transcended, there is nothing to be avant garde about. Fashion has become an endless line of cash-grab sequels in the Hollywood model, and we know nothing ontologically.

More importantly, however, is how our late capitalist system has transformed our very selves.  "We have all internalized the pervasive message that the gratification of our immediate individual desire is our highest priority.  We have been subliminally trained to buy things we merely want, as opposed to the things we need--and to indulge ourselves even to the point of self-sabotage whenever we feel weak, unlovely, or unloved....Our will toward consumerism feels irresistible--because it is intended to.  As a society, we choose to remain largely unaware that our desires have been built for us, by experts who have become so insidiously successful at planting seeds in our minds that grow into giant kudzu-sprawls of unanswerable longing that by the time we act upon these desires, we are fully convinced that they were organically grown in our own psyches.  We rationalize big, crazy purchases as being investments in our better selves" (p. 281-282, 285).

With the loss of ontology comes the loss of telos: the end goal of our lives.  If we don't know who we are, we cannot possibly know what the point of anything is.  Who are we living for, why are we living?  What is the legacy we leave for our children? 

This sort of cultural nihilism weighs heavily on me, because I'm far from immune from its darker impulses.  It's like constantly fighting against a current--sometimes you just want to float for a while, and stop swimming. 

My kids are at a stage where it feels like stuff is just sliding through my fingers constantly.  They are growing too fast for efficient hand-me-downs, and knit fabric (most of my kids' clothing) wears badly and is difficult to mend nicely.  I feel the environmental cost of my every purchasing decision very keenly, and it feels like dropping pebbles into an ocean, trying to dam the flow.  (And I'm not even doing a very good job of it).  I'm so very tired. 

I suppose the best way to fight it is to continue to use what we have, thrift well, mend or darn everything I can, purchase fabric and yarn as wisely as possible, and hold fast to the more ancient rhythms of the Church year.