By Ioana Zamfirescu
Is bad taste a bad thing?
Over the last years, trends have divided people’s perception of fashion and what once was perhaps regarded as being ‘in bad taste’ and inappropriate is now associated with a fine sense of style. The question asked by many was whether fashion is becoming increasingly ugly or if it simply goes against one’s personal taste. ‘Definitely, definitely’ would say the 76-year-old shoe creator Manolo Blahnik, who blames large businesses for putting pressure on designers to constantly come up with items for the moment, instead of focusing on time-transcending garments.
While in the 1960s luxury fashion was dominated by the classic tastes of a wealthy and mature elite and sophisticated haute couture pieces, nowadays the same notion is regarded as ‘maximalist’ and ‘aesthetically-challenging.’ In other words, mixing and juxtaposing pieces of clothing that appear unrelated, as far as colors and textures go, has become socially acceptable, and the more eccentric the outfit, the better.
However, the new aesthetic phenomenon has been around for longer than our short modern memory, with references as old as the Dadaist era of 1916, when beauty was considered as a ‘boring type of perfection.’ As Tristan Tzara pointed out in his book, Dada Manifesto, ‘Dada means nothing, it is just a sound produced by the mouth,’ highlighting the idea that Dadaism is not art, but rather a rejection of it. Ever since, various branches within the world of art, including fashion, have acquired distinct nuances among the public, generating a sense of freedom they have never felt before.
The Art Critic by Raoul Hausmann 1919-1920
It is true that the Internet generation has taken over modern times, but it is still arguable if the uncertain days of the early 20th century have vanished for good. While the concept of social hierarchy still prevails in terms of gender and race, the digital media has encouraged people to enter a maximalist era, where layering multiple clothes at the same time is a sign of fashion-awareness.
Also, society is currently undergoing important transformations, and notions of class, nationality and labor are still in the process of being redesigned. Whether bad taste replaces ‘good fashion’ or not, it is clear that high and low cultures no longer possess restrictive powers over it. Even though the idea of ‘us’ and ‘them’ still persists, it can be rather relieving to know they can swift places at any time.
Jil Sander SS 19, Sunnei AW 19, Gucci SS 19
‘Balenciaga Triple S’ sneakers, ‘Dsquared ‘The Giant Sandals’ SS19, Gucci SEGA Sneaker AW18
There is no doubt that beauty lies in the eye of the beholder and that fashion is by far one of the most subjective realms in our society. However, the new aesthetic can be defined as not mainstream: it is not what the general population would see as appealing or would wear on a daily basis. The dialogue between beauty, ugliness, and fashion has always been part of our culture, but today, more than ever before, every brand wants to get on the conversation.
This could also be linked to the inspirational medium of fashion during the 1970s, when aesthetics and luxuriousness were dictated from the top. Understandingly, the need for authenticity made its presence felt, and high fashion started to portray sincerity and offer a glimpse into real life. However, beneath that lay an even more disturbing element, with far more intricate cultural meanings. If fashion is nothing but the art of ‘dressing up’ (bringing a costume and persona to life), then it can be argued that the dressing style of the working class illustrates a satiric play acting.
Balenciaga’s take on the IKEA Frakta bag
Forcing the higher end of the social ladder to dress modestly highlights that power and influence are no longer divided by miles of lace and frills, especially now that people tend to follow streetwear-inspired style that subconsciously reinforces the concept of a capitalist uniform. The typical ‘suit’ fashion enthusiasts seem to embrace has become a symbol of conformity. Nowadays’ luxury fashion and its new proposed designs illustrate the adverse effects of a capitalist society that valued cheaper and instantly available goods on the short run, but which in turn depleted the natural resources, increased the costs for everyone and lowered the quality of life and, consequently, appearance.
Yves Saint Laurent SS 1971 – Is bad taste a bad thing collection
One could perhaps describe ugly as possessing characteristics generally known as unlikeable, in comparison to beauty’s specific good manners and constraint. To this extent, it challenges the status quo, perceived as common knowledge by the culture at large, which is governed by notions of ‘good’ and ‘bad.’ Paradoxically, undesirable qualities can ignite strong feelings of attraction. Similarly to Yves Saint Laurent’s 1971 collection titled ‘Is bad taste a bad thing?,” it features a diversity of discordant patterns.
Once again, I am not-so-subtly implying the close relationship between fashion and art.
While writing this article, I was fascinated to find out that Quentin Massys’ portrait of Margaret of Austria, entitled ‘An Old Woman’ (commonly known as ‘The Ugly Duchess’), is one of the most purchased postcards at London’s National Gallery.
An Old Woman (‘The Ugly Duchess’) by Quinten Massys 1513
Usually regarded as a victim of fashion, the ‘ugly duchess’ satirizes women who want to look like someone different from who they really are, and, to some extent, this Quinten Massys masterpiece was meant to make viewers laugh. It is rather arguable whether it is still relevant for our society, constantly fighting a battle against wrinkles, gray hair, extra pounds, and essentially anything less than perfection.
At the same time, the allusion to the ‘ugly duchess’ also sheds light on the ironic character of current fashion. Flawed-looking pieces designed by high-end fashion houses, sold for thousands of pounds and purchased exclusively by the upper-class seems to be the epitome of the irony of our times, as the rich see as fashionable what the lower-classes perceive as tasteless. To put it plainly, ‘one man’s trash is another man’s fortune.’ This also explains the peculiar idea that ugliness is by no means repulsive, further strengthened by the French concept of ‘jolie-laide’. Suggesting that a woman can be considered both beautiful and ugly at the same time, the jolie-laide theory is the perfect frame of the notion of beauty through a mud-stained lens.
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Cover image: Ion Barladeanu
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