Our Silhouettes and Our Shadows

I walk over Waterloo Bridge most days, and most days I am carrying a heavy bag full of the things I need for my day: books, planner, laptop, wallet, bottle of water, etc.

One time while walking I caught sight of my shadow. It was a softened-outline and vague: I was swaddled in a long winter coat that ties with a belt at the waist (and reveals the waist that signs ‘this is a woman’s silhouette’ rather than ‘this is a murky walking blob’). My body’s shadow was tilted. I had curved my back to the left side in order to rebalance myself with the weight of the bag I carried on my right shoulder. The weight of the bag pulled this shoulder downward and it’s bulge protruded out of the side of my body… a massive lump… a drooping rotund side stomach… my mutation of human form from what I had adorned and weighed down my body with.

I’m thinking about how lifestyle, environment, need alters the silhouette.

My bag (it’s weight, size, the way I was carrying it) and coat (it’s length, thickness, style, the way I chose to wear it) altered the form and movements of my body, my posture, my walk, my silhouette.

I chose this bag for it’s functionality and autonomy. The same dark hues as my clothes, it looks like it could be a part of my coat like a bulging pocket, or a growth my coated body has produced for survival (carrying the things I need to navigate my way through that day). The bag is made of a light canvas material, so that it has little of its own weight, instead it is more the contents of the bag that make up its weight and bulky form.

In 1994, Kosuke Tsmura launched Final Home with a transparent nylon coat that consisted of 40 pockets to be filled with what one needs to survive. This version of a survivalist way of thinking about dress, and how the filled pockets of the coat could simultaneously function as a form of insulation for the wearer reflects Tsumara’s concern with what a designer can do for people in desperate situations. Each individual wearer of this coat has their own idiosyncratic silhouette and form due to their needs, for depending on what they fill the coat with and in which pockets a different outline of the body would be created.

In 1997 Rei Kawakubo created a collection for Comme des Garçons called ‘Body Meets Dress, Dress Meets Body’, which is more often referred to as the ‘lumps and bumps’ collection. The collection used padding to alter the silhouette of the models bodies. Stuffed protuberances seemed like swellings of the body that exaggerated the shape of hunched backs, warped monobosoms or sloping shoulders and grew from the models bodies through the clothing design. This is what I was reminded of when I noticed my lumpy shadow on Waterloo Bridge.

MoMA’s current exhibition ‘Items: Is Fashion Modern?’ had a display of bulging mannequins in a row that were either of bulging bodies in which the clothes adhere to such growths (for instance the pleated Modular Dress 2.0 designed by Wei Hung Chen in which the pleats can adjust and loosen alongside the growth of a pregnancy bump, or open completely so that the wearer can breastfeed) or accessories such as bum bags and baby carriers that add the protrusion to the body’s form for purposes of functionality.

The Bernard Rudofsky’s 1944 sculpture series of what a woman’s body would be like if the clothing she wore actually fitted her body was also exhibited in ‘Items: Is Fashion Modern?’. These comic sculptures (we cannot ignore the flapper figure’s lack of arms and drooping bottom or how the bustle of the Victorian woman reveals the body of a centauress) display the changing silhouette of woman through her dress, and how fashion alters the way one might regard the human body.

Here are some of the visual notes I made while writing this article that were inspired by Rudofsky’s sculptures, the line-up of bulgy bodies at MoMA and my deformed shadow on Waterloo Bridge…

 

 

By Evie Ward