Again I joined LI EDELKOORT in Zürich for one of her nowadays rare appearances in Europe.
Not a light dish was served, not too much euphoria was spread at the Filmtheater in Zurich, but hope which Li want us to forsee in one of the major Fashion Trends for our short term future. Many expressions, definitions and yet already set actios of what made her source this trend, we are aware and are present in our lifes. Migration as a key to the new trend:
The Folklore of Fashion (a comdpendium)
The folklore can be seen as a selfless image of itself, a way in which people share an identity and come together with a strong sense of belonging.
They belong to the region, to the landscape, to the history and culture, but above all they belong to each other.
In each village of each valley the ingredients are the same, but the execution differs and shows another local level of expression. It is based on the community, a peer to peer cultural activity, where the group carries the creative direction and absorbs all individual printouts. Folklore keeps reinventing itself as society moves from one peridode to another. Generations are encouraged to establish their multiple identities. The clothing consists of artisan-influenced, cultural wearers of artfully woven textiles, luscious lace and broken, festive banders and fringes, beads and embroidery.
As an expression of tailoring folklore is both local and global, personal and universal. It combines the old with the new and thus forms the perfect example of our community-owned company. Embroidery varies, flowers in different colors and surfaces receive a personal expression. The handwork makes all pieces unique even if they are in a family of form and fantasy. The hand of the designer defines the final vision of the artistic clothing industry.
Different phases of life require different colors and fabrics, other emotional motifs, sentimental embroidery and personalized monograms. Young girls, bridal couples and widows share a passion for decency and abide by the rules of ancestors. Sometimes they dance a little out of time to enjoy a personal secret, a close and remembered memory. The way in which the costumes are portrayed as living treasures of perennialized cultures makes the sutium of popular clothing a vital issue and can be regarded as an endless archive, a pattern of insight and inspiration against the copies of creative industries researched.
The study of the global range of folkloric fashion teaches us a very important idea: no kind of folklore is unique and an individual expression. In very remote regions, people had similar ways of coloring fabrics, weaving color, embroidering flowers, designing stripes, how to develop hooking, how to invent a stitch.
In many regions, the generous blouse is the basis of all clothing for women and workers, the slinky tunic is the basic form for all men. Plate rock and full ruched pants can be found around the globe. In all continents, square-patterned clothes weave and weave clothes for all genders and age groups that only take on the human body, such as mexican Huipil, african Agbada, and indian Poncho. Clothes can be found in different cultures, wrapped and bound in stucco, worn by people of different ages and backgrounds. These clothes bring with them natural skills and an elegant style, such as the Sari, the Hanbok, the Sarong Kimono, the Dohti and the Pagne. They are part of this tremendous research into the possibilities of cover and disentanglement that have changed over time. The apron could have been part of the work, from a simple leather apron to a functional stucco, a valuable additional shield whose look is refined and embroidered.
In the folkloric tradition, fantasy is out of bounds and band and invents surfaces that underline the perfected shape of the garment over many centuries. It develops a wide variety of engravings and embroidery that recur across wide plains and oceans. In all folkloric fantasies, the band is an important ingredient in making headgear and giving it nobility or decorating a dress.
Ribbons invite us to follow an example and to enter places of a party, place of worship, place of celebration, place of dancing and restoration. There is something terribly optimistic and healthy about the Folks.
In the current political climate of trade wars and the closing of borders, where fascism shows its urgency and patriotism as strong, it is time to establish a new vision. In this difficult moment of separation of cultures, it is good to look at folklore in depth and realize that we have much more in common than we think. At the same time, different regions are creating parallel worlds that are astonishing in their resemblance. The same silhouettes, which are considered to be the unique cultural reflection of a region, can be found in the East and the West, in the South and in the North. If the knowledge of the creative power of the people was more widespread in many continents, we could use their constructive power for positive ideas on universalism, while now it has become the tool of excessive nationalism and patriotism.
The steady flow of migrations and trade routes since the dawn of mankind has influenced cultures for centuries, using the same manufacturing techniques with the same aesthetic to link the asian species of auspices with indian american expression to native sudamerican symbols. As a result, we must understand that no one has a motive, that symbol can call his own. As dying and coloring processes take place in Asia, India and West Africa, Ikat fabrics appear simultaneously in Asia, India and South America. The use of fibers for rock and rain can be found in Europe and Africa, Asia and America. It is a universal mehtode reminding of the first moment when a human chose a leaf to cover his nudity. It is something very lovable and tragic to find in this vision that our parts are exactly alike and aim to receive the same splendid beauty and cultures, a kind of regained paradise.
What is grounded and disturbing in this heated debate is the apparent use and abuse of cultural directions by imitators who do not take their time or have the interest in properly studying their source of inspiration, a new imaginative symbolism based on the same sparing techniques to develop.
From the deep understanding of these common cultures, the respect for dealing with these universal inheritances and the joy of experiencing how fundamentally human beings are actually related to each other, is created. The most recent opportunity to engage in individual DNA research shows that all human beings are migrants, that we all come from Africa, and that the various migrations from there outweigh our fate and our deep inner appreciation for color motives textile techniques.
Lately folk fashion has returned to the foreground and seems to be growing as a global macro trend to be reckoned with. As a method to learn what is human in itself.