Exploring Boundaries: Fashion, Adornment and the Body
Introduction
For many centuries, humans have communicated to each other in the language of dress. Even before an individual talk to another individual on the street, at a party or in a meeting, the person has already declared their age, gender, and class through their attire. Additionally, the person would have possibly announced important information or misinformation, such as origin, occupation, tastes, opinions, current moods, and sexual desires. Individuals may lack the ability to express what they have observed into words, but they have registered information unconsciously about each other. Consequently, by the end of the conversation or meeting, they would have already spoken to each other in an older or universal term. This paper attempts to look at the existing commonalities between language and apparel and the manner in which they may communicate. A Collins Dictionary gives the meaning of the words “language” and “dress” as follows:
“Language” – A system of expressing feelings, thoughts, among others through spoken sounds or conventional symbols.
“Dress” – To put clothes on, complete style of clothing.
Today as semiotics, a branch of linguistics concerned with symbols and signs, becomes fashionable, sociologists have also found that fashion too is a language of signs, non-verbal mode of communication. The term dress does not only include items of clothing, but also accessories, hairstyles, make-up, jewelry, and body decoration. According to Barther, (1985), in theory, this term is equal to or larger than that of any spoken tongue because it includes every item of clothing, body decoration and hairstyle ever invented. The real sense, the actual language-clothing resources available to an individual may be restricted. For example, when considering a farmer tilling his land, we only see bare necessities of clothing, shirt, jeans, and boots, among others (Harvey, 1996). Consequently, his language clothing may only be limited to four or seven “words” from which it is possible to create only a few “sentences” almost void of decorations and only the most basic concepts (Brown, 2003). Conversely, a celebrity, who can access enormous clothing styles, may present several hundred “words,” and thus be able to form thousands of different “sentences” that will produce numerous meanings. Just as the native English speaker knows many words that she or he will ever use in a conversation, so all have the ability to understand the meanings of styles they will never wear.
The parallels between language and apparel
An examination of theories relating to the parallels between language and clothing can help in understanding the basic principles and reactions to the claim. In a wider perspective, there exist a myriad of different types of what scholars may term ‘language’ ranging from symbolic, scientific, to artistic (Brown, 2003). A more quantifiable form of language is evident in the military, computer, governmental, and military disciplines as well as science. These types of language exhibit exact or precise communication much in the same way much in the same way a military uniform relays immediate communication of their occupation and ranks within the forces (Brown, 2003). In a geographical context, there exist various languages formed based on different environments. Different cultures speak differently and dress differently, for instance, wearing light clothes communicate the concept of hot climate.
Language as something experienced from performance to an audience bears its corresponding equivalent, the ‘display,’ which involves the act of wearing clothes in public. The ways in which individuals communicate and interact greatly depends on how people say things and wear clothes. Irony, sarcasm, innuendo and vulgarity can augment animation to both apparel and conversation. Outrageous clothing and wild gesticulation sufficiently communicate the underlying concept of passion, which has the same effect of communication, but through a different method (Jobling, 1999). Additionally, color and sound offer a different aspect of communication for clothing and language. For instance, a low meditative voice can change the perception of the audience on the message relayed. Similarly, wearing a bright-colored suit can change how the audience perceives your message and how they reply. The way in which an individual 'presents’ language and how people ‘present’ themselves have an overall impact on the meaning.
In 1967, Roland Barthes wrote that the “fashion text” has a particular and vital role in the creation of a fashion system. Such ideas have implications in understanding fiction, stories and narratives where fashion and bodies play part. The Gothic convention of ascribing sexual content to surfaces has gained significant notice in some studies on the imagery of veils. However, most of these studies fail to notice the significance of dress as a language. Sedgwick views the veil primarily as a disguise or a boundary for something else; it is “the line between the conscious and unconscious minds” (Sedgwick, 1981). On the other hand, the veil itself, is also suffused with sexuality. This is partially true because of the meanings it hides the veil that inhibits and hides sexuality come by the same gesture so as to represent it, both as a metonym of the thing concealed and as a metaphor for the system of prohibitions by which sexual desire is enhanced and specified (Sedgwick, 1981).
Like virginity, the veil that symbolizes virginity in a nun or a girl bears an erotic implication of its own, and “characters in Gothic novels fall in love as much with women’s veils as with women (Sedgwick, 1981). In the Gothic novels, fashion plays a significant part in understanding the view the society holds on dressing and the “fashion text.” The dress used in these literary works supports the message conveyed in the storyline. In one, aspect, language and clothing seem to differ on how they relate with time. While speech messages occur overtime, clothing represents a singular statement or message at a given moment. This statement does not change for a long time until the wearer changes clothes or the context around the person wearing the clothes changes. In the novel The Monk, by Mathew Gregory Lewis, he opens the book by describing a woman wearing a veil. Lewis writes, “Her features were hidden by a thick veil,” an implication that the veil in itself communicates with the audience as well as the characters (Sedgwick, 1981).
Gothic dresses
Besides containing, “words” that are taboo the language of dress, like speech also contain ancient and modern words, words of foreign and native origin, colloquialisms, dialect words, vulgarities, and slang. Original articles on ancient clothing, or skillful imitations, are used in the same way a speaker or a writer might employ archaisms to give a feeling of wit or culture. Just like in education discourse, such “words” are usually used sparingly and often used one at a time. For example, one might wear a pair of 1940’s platform shoes, a Single Victorian cameo, or an Edwardian velvet waistcoat, and not a complete costume (Hughes, 2006). In the 21st century, a whole outfit composed of archaic items from a single period rather than projecting elegance, would imply that an individual is on their way to perform in a theatre, masquerade party, or perhaps for advertisement purposes. However, mixing garments from a number of different periods of the past may give the “reader” a confused but “original” theatrical personality. This is usually common in the art and entertainment industry where it is viewed as fashionable and where celebrities are manufactured and sold.
The choices of clothes that people make on dressing and the message that they give, both consciously and unconsciously have an impact of the quality of a movie. For example, in the film, “American Hustle,’ presenting the characters playing the con artists, operators and politicians had their challenges (Spooner, 2004). As the title of the movie by David Russell implies, the characters loosely inspired by the 1970s Abscam scandal, are continuously reinventing themselves to achieve their dreams (Warwick and Cavallero, 1998). The characters use their costumes as part of their hustle and dress as the person they aspire to become. The costumes used in the film gives an impression of characters playing characters. The characters wear glamorous assemblage of fur, plunging necklines. Velvet suits, gold chains that fit so precisely that they look painted, especially when viewed from the back.
The choice of dress plays a significant role on how a reader feels about a character. This is because the outward appearance always reflects the inward appearance of a person. The reader of Harry Potter feels bad when he is forced to don Dudley’s old clothes, but when he dons his wizard robes, he regains his confidence and becomes much happier, and the reader starts to be happy for him. Another example is The Phantom of the Opera where the character dons a mask because he is tormented by and ashamed of his physical appearance (Warwick and Cavallero, 1998). If the character did not wear the mask and so much dread its removal, he would completely become a different person. This mask plays a significant role because it identifies whom Eric is. Even in the absence of numerous iconic costume choices, it is important to examine how someone dresses because it is a huge indication of their personality and their current emotional state. In the Gothic novels, women wear veils that cover almost all parts of their body in an attempt to disguise themselves. However, even a character in disguise must make choices on the personality they want to assume, and in those choices, the real person can still be seen.
Considering this, it the reader can remain blind of the true character when a writer uses vague clothing description or no description at all. However, authors can always employ other techniques to avert this problem. Describing the fabric or color of a dress is easy to do and can be used to inform the reader about many things. Color is hugely symbolic, and one does not need vast knowledge in color theory to enable them deduce the subconscious clues that costume designers use to alter the feeling of the reader. Mentioning the fabric the cloth a character is wearing is one of the simplest ways of revealing wealth or social class. Additionally, keeping the entire wardrobe of a novel or a film in the same recognizable period, even if the story takes place in alternating universe can help in maintaining consistency, as well as give the readers more references for what is rich or poor and normal or not normal. Symbolism offers the easiest way of understanding and developing characters that are more realistic.
Clothing and language present a wider sense of communication. The complexity of diversity and existence is reflected in the various ways in which people display themselves and how they interact with each other. Both clothing and language are highly dependent on context, semantically different over time as well as an externalization of out external sense of self and ego. Similarly, clothe and language plays a significant role in how people understand literary works.
Reference list
Anderson, S. (2007) Collins dictionary. Glasgow: HarperCollins.
Barther, R. (1985) (first published 1967) ‘Forward’. ‘1. Written Clothing’, ‘Conclusion, 20. Economy of the System,’ in The Fashion System, (trans. Ward M. and Howard R.) London: Jonathan Cape.
Brown, B. (2003) ‘Introduction: The Idea of Things and the Ideas in Them’, in A Sense of Things. Chicago and London: The University of Chicago Press, 1-20.
Harvey, J. (1996) Men in Black. Chicago: University of Chicago Press.
Hughes, C. (2006). Dressed in Fiction. Oxford: Berge, 2006.
Jobling, P. (1999). ‘Part 2. Written Clothing and Image Clothing: Roland Barthes’ The Fashion System in Perspective’, in Fashion Spreads. Oxford: Berg, 1999, 65-83.
Sedgwick, E. K. (1981) The Character in the Veil: Imagery of the Surface in the Gothic Novel. PMLA. 96, 255-270. Available from <http://www.jstor.org/stable/461992>
Spooner, C. (2004) ‘Curtain’d in mysteries: an introduction to Gothic fashion’, in Fashioning Gothic Bosies. Manchester: Manchester University Press.
Warwick, A. and Cavallero, D. (1998) Fashioning the Frame: Boundaries, Dress and the Body. Oxford: Berg.
