Art and Architecture
1. Camouflage in Art and Fashion: The Embodiment of War
1.0 Introduction
Shopping malls are a place where war in the popular culture is obvious because of images ranging from the clothing displayed that is made with camouflage-printed fabric to the war movie posters at the cinemas. The culture of war is hard to avoid and somehow the idea of war seems to be comfortable to the consumers of goods and images in the mall. The world resembles the shopping mall in the way war is embodied throughout popular culture.
War shapes our bodies while defining space and identities for many reasons, not least because war “lives inside” the people who have survived war and that effects all us (McSorley 2012: 2). McSorley (2012) describes war as an embodied experience that influences modern identities, bodies and space. During the 20th and 21st centuries, warfare is a factor in common with owning a television or owning a smart phone. War is accepted by non-military society where they may not even notice the influences on their shopping habits and how they dress.
1.1 Development of Modern Military Uniforms
Military uniforms are visual images that represent war, domination and control (Tynan, 2013). The story of war and modernity begins with the standardized uniforms that came into use for World War I (WWI). The uniforms were far drabber than earlier uniforms. The reports are that two British regiments first made a change to khaki while attempting to keep the colony of India within Queen Victoria’s Empire (Tynan 2013). The word khaki developed from a root in the Hindi and Urdu language meaning ‘dust’ or ‘earth’ (Tynan 2013). Soldiers from two regiments used many dull colors of dye according to historical reports. Their originally white uniforms were dyed with colors ranging from “grey to olive, and from olive to brown” (Tynan, 2013: 4).
The change was the first big step away from highly decorative uniforms and plumage that had been popular until then. “Military plumage” had been used for centuries as a strategy to intimidate enemies (Tynan, 2013: 3). From that first step the new style of uniforms was a sign of “new” modernity (Tynan, 2013: 3). Modernity was seen to change the perceptions of the soldiers wearing the uniforms and the events where they were involved (Tynan, 2013). Visually the look worked to intimidate people because it was a sign of control during “WWI . . . images of uniform reveal cultural processes that made men and ranked them for military service” (Tynan 2013).
Figure 1 Dusk Camo Cardigan from Madewell™ (SEVANS 2014)
1.3 Fashion and Camo
A search of fashion websites demonstrates that “camo” short for camouflage is trending in the world of women’s fashion. SEVANS (2014) a writer on the StyleBlazer website explained that camo is not considered the trendiest fashion style (in 2014) nevertheless camo print fashion items are essential for every closet of the modern woman and for anyone who want to be modern. In fact, purchasing camo-influenced items can “save your wardrobe” and with only nine pieces (SEVANS, 2014).
The fashion site StyleBlazer insists that camo needs to be a permanent part of everyone’s fashion wardrobe (SEVANS, 2014). (See fig. 1) The reasons given for the attractiveness of camo is that it is a “versatile print” that can be found dressed up or down (SEVANS, 2014). Behrens (1999) described the dazzle camouflage of WWI; the camo fashion pieces with sequins and fur may be the dazzle camouflage of modernity. The blue Dusk Camo Cardigan is worn by the model above. The model is wearing little make-up and has a strong, pointed jaw. Her hair is not styled but hangs limp and not very well-combed.
The photo of the woman in her blue-dusk-camo-cardigan is an example of Dora Apel’s (2012) theory about the normalization of war throughout popular culture. War is part of television episodes that incorporate the current war into their storylines. The advertisements, commercials, trailers, posters and TV Guide blurbs keep us updated about television shows with war as a thread of the plot can be found everywhere. The same media blitz for war movies pushes war even deeper into popular culture. The camo cardigan is a reflection of war in the popular culture that takes on other meanings different from death and destruction. The forms war takes in the culture include images, on social media, photographs, performance art, reenactments of war battles and video games (Apel 2012).
The images of war that faces the public every day is generally divided into two types: the sanctioned images and the images that are unofficial views into the reality of war (Apel 2012). Apel (2012) argues that the images of war in culture take on a transformative role because they show a view of clashing narratives on war. One group romanticizes and legitimizes war, whereas the other group offers images of the devastating effects of war (Apel 2012). The camo cardigan is in the group that romanticizes and legitimizes war represented by a comfortable sweater.
Figure 2 Wang’s full metal jacket fashion designs (Photo: Kathy Lo, 2015)
1.4 High Fashion
The idea of uniform is exaggerated in the fall/winter 2015 fashion designs of Alexander Wang by the high platform black boots with three large buckles, like belt buckles. The boots are shiny black and the buckles are grayish white. (See fig. 2) Two identical long black skirts that are pictured have grey-white fringe sewn to the hems. The fringe is fairly long and reminds a viewer of the olden days when decoration and plumage was allowed on military uniforms. In the background a series of high- and low-waist skirts are colored a dusky grayish and the embellishments are similarly shaped on each skirt.
The fashion designer, Alexander Wang used “a riot of metal trims, chains, buckles and even knits” (Newell-Hanson, 2015). Decorative touches on the clothing include a liberal use of metal studs and even “full metal jackets” are available (Newell-Hanson, 2015). "They were actually 90 percent metal!" (about the jackets) said Alex Wang, "Then we lined them with chenille and fur to give them some lushness" (Newell-Hanson, 2015). Wang’s full metal jackets are therefore pieces of opposites: hard and soft; rigid and luxurious. Most of the models have gelled hair that makes it look dirty and it hangs over their eyes and in some cases covers their whole face. The facial expressions of the models is fearsome or at the least suspicious.
Mirzoeff (2013) noted that the war images in culture are a type of control that reflects how the military demands domination and control. Feldman (2013) explain how images penetrate the popular culture until they reach the status of myth in some cases. Wang’s Fall/Winter 2015 fashion designs are reflections of the ideas from Mirzoeff (2013) and Feldman (2013). The fashions look rigid and unforgiving like the military. Wang’s shoe design makes the models several inches taller, making them appear dominating. The buckles of the shoes are large compared to the shoes and seem to take control of all of the ‘costumes.’ The fashions Wang offered are cartoonish in a uniform, dark and scary way.
Figure 3 “Some/One” Coat made from military dog-tags created by artist Do Ho Suh (art21 2011)
1.5 “Some/One”
Meanwhile, a 100 percent metal jacket is the creation of Do Huh Suh. The installation was first exhibited in 2001. The great, long coat fans out and looks like an expensive robe that was worn by pharaohs for special occasions. The inspiration for the art project was Suh’s exploration of “using the form of clothing to address the issue of identity” (PBS 2003). Korea requires that all males do military service for approximately two years so Suh had the military experience of learning how to be a soldier. Being a soldier is “a great deal of the Korean man’s identity” (PBS 2003). The purpose of the two years’ training was to train the body to be strong enough that a soldier “can kill someone” (PBS 2003). The physical challenges and the way the soldiers were trained was a dehumanizing process according to Suh (PBS 2001).
Dog tags were used to create the “Some/One” sculpture (PBS 2003). (See fig. 4) All soldiers must wear a pair of dog tags that act as identification (PBS 2003). If someone dies in battle, then one of the surviving soldiers must take one of the dog tags to report the death, leaving the other one on the body (PBS 2003). The first sculpture similar to pictured project was made with 2000 dog tags and Suh called it “Metal Jacket” (PBS 2003). “Some/One” is made from one hundred stainless steel dog tags (PBS 2003).
No human form is inside the “Some/One” instead the artist placed mirrors inside the hollow jacket. Looking at the jacket when it is approached from behind a viewer sees one unified mass of the dog tags that make up the back of the coat. And then the viewers are allowed to walk on the dog tags that are part of the coat spread out on the floor; when the viewer looks at the front they see themselves because of the mirrors inside (Do-Ho Suh 2001).
The sculpture “Some/One” brings to mind the quote from Michael Foucault about the bio- politics of making a soldier. Foucault (1977: 135) was referring to soldiers of the 18th century:
The soldier has become something that can be made; out of formless clay, an inapt body, the machine required can be constructed; posture is gradually corrected; a calculated constraint runs slowly through each part of the body, mastering it, making it pliable, ready at all times.
Applying Foucault’s quote to modern times and to “Some/One” while knowing that wars are going on right now in parts of the world creates thoughts that are hard to describe. The dog tags are a reminder that the training of soldiers is to teach them to kill; but on the other hand they may be killed. When a viewer walks around to the front of installation, they do not know what they are going to see, and then all of a sudden – they see themselves. The image of the viewer is in the coat and wearing the coat under the weight of all those stainless steel dog tags. The feeling must be one of shock or surprise. What is the meaning? Perhaps the meaning is that we are all soldiers and we all bear the heavy burden of war. The beauty of the shiny coat “Some/One” is misleading when the realization is understood that all the shining pieces are dog tags. That seems like how war is supposed to be the answer to all problems, but instead war brings sadness and more problems.
1.6 Conclusion
Shopping malls are solidly embedded in public culture with their images and clothing that mimics real war, than reasonably war is embedded in our culture and perhaps in our beings. Khaki was the first step to the modern camouflage of today that relies upon high technology to create materials to disguise the soldiers and make them as invisible as possible. Fashion embraces the fabric design of camouflage called camo for short. Wang’s intense fashion line for Fall/Winter 2015 was rigid, controlling and enhanced the domination of anyone wearing the platform boots. The models wearing the camo and camouflage inspired clothes are not wearing makeup that make them look beautiful as one usually sees, and their hair looks stringy and dirty while hanging over their eyes and covering their faces. The camo blue dusk cardigan legitimizes war as a comfortable part of life. Wang’s fashion line offers an extreme design of the militarized look that is dark and frightening. Do Ho Suh created an incredible sculpture called “Some/One;” the some ones that are represented by the dog tags and the some ones who see their own reflection when they peek inside the metal coat. “Some/One” represents’ the image that is most disturbing and beautiful; it is a sculpture that embodies war and when viewers see themselves in the mirror, the viewer becomes visually embodied in war, too.
References
Able, D. 2012. War Culture and the Contest of Images. New Jersey: Rutgers University Press.
Behrens, R. R. 1999. The Role of Artists in Ship Camouflage during World War I. LEONARDO, 32(1), 53-59.
Feldman, A. 2005. On the Actuarial Gaze: From 9/11 to Abu Ghraib. Cultural Studies, 19(2): 203-226 doi: 10.1080/09502380500077763
Foucault, M. 1977. Discipline & Punish: The Birth of the Prison. NYC: Vintage Books.
McSorley, K. (ed.). 2012. War and the Body: Militarization, Practice and Experience. London: Routledge.
Mirzoeff, N. 2006. Invisible Empire: Visual Culture, Embodied Spectacle, and Abu Ghraib. Radical History Review. 95:21-44. [online] [11 March 2016] Retrieved from http://www.nicholasmirzoeff.com/Images/Mirzoeff_InvisibleEmpire.pdf
Newell-Hanson, A. 2015. Alexander Wang goes Full Metal Jacket for Fall/ Winter 2015. i-D Fashion. [online] [11 March 2016] Retrieved from https://i-d.vice.com/en_us/article/alexander-wang-goes-full-metal-jacket-for-fallwinter-2015
PBS. 2011. Do Ho Suh: “Some/One” and the Korean Military. art21. [online] [11 March 2016] Retrieved from http://www.art21.org/texts/do-ho-suh/interview-do-ho-suh-some-one-and-the-korean-military
SEVANS. 2014. 9 Camo Print Pieces to Save your Wardrobe. StyleBlazer. [online] [11 March 2016] Retrieved from http://styleblazer.com/337291/camouflage-clothing-pieces-save-wardrobe/
Do-Ho Suh (artist). 2001. “Some/One.” Whitney Museum of American Art. http://collection.whitney.org/object/16102
Tynan, J. 2013. British Army Uniform and the First World War: Men in Khaki. UK: Palgrave MacMillan.
