postmodernism

Do aspects of postmodernism continue to influence creative practice?

(ABSTRACT)

Figure 1. Look 12 from SS22 collection ‘Mise En Scène’ by Harris Reed (2022) Harris Reed

Often synonymous with ‘the present’ (Morgado, 1996), the term postmodernism came to popularity in the last third of the 20th century (López and Potter, 2005), used to describe the changing socio-economic, sartorial, and artistic values of Western society. This essay aims to analyse the text ‘Coming to terms with postmodernism’ (Morgado, 1996) in conjunction with the work of designer Harris Reed—illustrated above by ‘Look 12’ from their SS22 collection, ‘Mise En Scène’—as an example of how postmodernist thought continues to reflect in contemporary creative practice: exploring concepts such as ‘the death of progress’, the rejection of metanarratives, and the use of historical pastiche in Reed’s designs. Conversely, reminiscent of the societal shift from modernism to postmodernism, this essay will begin to address the effects of post-postmodernist theory on contemporary creative practice: detailing how it has developed in response to the changing socio-political climate of the modern world, and what it could mean for the future of design.

Morgado begins her study with the idea that postmodernism is becoming “increasingly evident in the scholarship of fashion and dress” (Morgado, 1996, pg. 41). One such example is the SS22 collection designed by Harris Reed—titled ‘Mise En Scène’—presented on their website as exploring the ‘performative nature of dress’, and taking inspiration from the long-established debutante ball (Reed, 2022). ‘Look 12’, a white bridal ensemble created from deadstock silk taffeta (Reed, 2022), plays on historical pastiche (cited in Jones, 2022), evoking a genderless style that exaggerates the traditionally feminine silhouette shaped by crinolines, corsets, headpieces and embellishments (Reed, 2022). Morgado argues that postmodernism exists as a response to the receding conditions of the modernist society—describing the shift of Western social values, sensibilities, and cultural norms (Morgado, 1996)—thus facilitating the ‘demystification’ of perceived hierarchies and metanarratives within the fashion system (cited in Jones, 2022). This is true of Reed’s vision, which creates a new dynamic to suit the changing social standard, “wherein the hegemony of a capitalist masculinity is destabilised [and]

defamiliarised” (Barrett and Straus, 1994, pg. 60). On their instagram Reed describes Look 12 as their “fluid bride”, focusing on “community, collaboration and all the incredible individuals that it takes to create safe spaces for everyone to feel their most authentic selves” (Reed, 2022), Nihilism, a philosophy theorised by Nietzsche in the 1960s, judges that there are no objective grounds on which to prove the legitimacy of the nature of truth; that all truths are subjective (cited in Morgado, 1996). Contrary to the deep-rooted dominance of a binary society, Reed responds to their own truth, “making a change and a safer space for everyone to come out and be who they want to be” (Reed in an interview with Harper’s Bazaar, 2021).

In his text ‘Simulacra and Simulations’ Baudrillard argues ‘the death of progress’, asserting that whereas previous generations have lived in the ‘march of history’, history itself has retreated, leaving behind it an indifferent future full of empty references (Baudrillard, 1994). However, this is increasingly becoming an outmoded model of thought. Whilst some aspects of postmodernism remain prominent in contemporary creative practice, it has ‘mutated’ into an era of post-postmodernism (Nealon, 2012). In 2014 Morgado speculated that post-postmodernist creatives would engender the merging of ‘high’ and ‘low’ culture; the blurring of fashion and art, and that preferences would shift towards gender nonconformity (cited in Blanco and Reilly, 2021). Indeed, although many of Reed’s designs are borne from aristocratic origins—the debutante balls being considered part of ‘high’ culture, for example—collaborations with celebrities like Harry Styles, Sam Smith, and Adam Lambert introduce these past traditions to a wider audience: imploding these boundaries (Sarup, 1996, pg. 111). Furthermore, with the disruption caused by the ongoing coronavirus pandemic and climate crisis, postmodernist influence within the fashion industry has abated (Lanteri, 2020 cited in Blanco and Reilly, 2021), designers such as Reed using lockdown as a ‘big reset’ for their creative practices—“before the pandemic everything was fast-paced, crazy, trend-led and [everyone was] dressing like everyone else” (Reed interviewed in Harper’s Bazaar, 2021). Whilst this heightened awareness of the environment and slowing down of consumption has begun to take effect, suggesting a shift from postmodern culture, capitalism’s influence remains deep-seated in commercial creative practices, such as in the fashion industry, indicating that postmodernist thought remains prominent.

Having analysed Morgado’s text in conjunction with the work of Harris Reed this essay can conclude that postmodernism continues to assert influence on contemporary creative practices. As an example of these practices, Reed’s designs adhere to many key concepts of postmodern thought, such as the demystification and rejection of metanarratives, and exaggeration of historical references, creating a new narrative to suit the changing social, political and economic climate. Indeed, whilst some aspects of postmodernism appear outdated, giving rise to post-postmodernist theory, it remains a standard of contemporary discourse, shaping and influencing—even if somewhat inadvertently—the output of creatives today.

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