Context - 'Costume'

Moschino, menswear SS/16

In my investigation of the 'Dandy' and ideas surrounding masculinity, materiality and the British gentry I found it quite amusing that the recent Moschino menswear collection pulls on similar references. The collection is spritely cross over of King Louis XIV and a retro Tour de France. This retelling of Versaille court attire merging lycra print, coloured fur, ruffles and ornate embroidery makes the Moschino man look like he just stepped out of the set of Fellini's Casanova. This is a very similar feel I have been exploring and could see my work alongside the Moschino aesthetic this season. This collection challenges preconceptions of 'masculine' clothing; is there a need for gender differentiation at fashion weeks anymore? After all 300 years ago dandy's displayed such pomp and extravagance that blurred the lines of gender materiality. 

Yinka Shonibare MBE, Last Supper (After Leonardo), 2013, life-size fibreglass mannequins including a hybrid figure with fur legs and hooves, Dutch wax printed cotton textile, reproduction wooden table and chairs, silver cutlery and vases, antique and reproduction glassware and tableware, fibreglass and resin, 158 x 742 x 260cm

Gallantry and Criminal Conversation (Parasol), Shonibare

I have also been looking at the  work of Yinka Shonibare, a Nigerian-British artist and self-dub 'post-colonial hybrid'. Utilising costume as a medium for exploring the relationship of race and class he re-appropriates colonial narratives and questions preconceptions of constructed collective-identities. Using the traditional Dutch-wax fabrics of Nigeria (introduced by Western colonialism of Indonesia and Nigeria) he produces costumes associated with the British colonial landed gentry, opening up a possibility for alternate narratives. The idea of costume or clothing geared towards a gallery context whilst still existing as a wearable garment interests me and the future of my practice.