Enienay: Fashion Among the Ruins

English fashion designer Nina Davies

(not to be confused with the Canadian performance artist of the same name)

One must always be very grateful to fashion, says Nietzsche, for liberating within those who are subject to its law the energy and goodwill that is often paralysed by negative feelings of anxiety and low self-esteem; i.e. those feelings which are productive of drabness and conformity of appearance. Fashion, in other words, allows the individual to communicate confidence and joy in their own form. 

And so, without wishing to encroach too far onto the kind of territory best covered by the super lovely Nunzia Garoffolo in her smashing blog, Fashion Beyond Fashion, I would nevertheless like to say a few words in praise of the talented design queen of Spitalfields, Nina Davies, and her fashion label Enainay.

In her unique collection of womenswear, Ms Davies recycles and reconstructs old fabrics and abandoned garments into entirely new pieces by draping them round her trusty mannequin and then cutting, pinning, stitching and twisting with a mixture of madness, mockery, and love for all things motley.

She is, if you like, a designer amongst the ruins. By which I mean one who attempts to create something beautiful out of that which others have discarded as worn out or outmoded. Nina realises that because second-hand clothes have no intrinsic significance, any item might attain new meaning and new life by being incorporated into a novel vision of what constitutes elegance.

For those who like sartorial harmony and a wardrobe steeped in classical tradition, there might not be much to admire in her collection of fitted jackets, skirts, dresses and corsets. But for those who want to dress up to mess up and who desire clothes that display wit, warmth, and intelligence - as well as craftsmanship - in every asymmetric line, then I would highly recommend a visit to her shop.           


Enienay, at Seam, 14-16, Market Street, Spitalfields, London, E1. 
Open Mon-Fri 11am-7pm & Sat-Sun 10.30am-6.30pm.
Or visit: www.enienay.com 
 
 

Philosophy on the Catwalk

Nunzia Garoffolo: fashionbeyondfashion.wordpress.com

Six reasons why fashion is fabulous and the question of style is philosophically crucial:

1) Because Professor Teufelsdröckh, despite being a typical German Idealist in many respects, is right to suggest that in the "one pregnant subject of clothes, rightly understood, is included all that men have thought, dreamed, done, and been" [Sartor Resartus].

2) With its obsessive desire for the New as a value in and of itself, the logic of fashion is the determining principle of modernity. To his credit, Kant, who was often mocked by his friends for his fine silk shirts and  silver-buckled shoes, was one of the first to identify this irrational principle and note that fashion therefore has nothing to do with aesthetic criteria (i.e. it's not a striving after beauty, but novelty, innovation, and constant change). Designers seek to make their own creations as superfluous as quickly as possible; they don't seek to improve on anything and there is no progress, purpose, or ultimate goal within the world of fashion (a short skirt is not an advance on a long dress). If it can be said to have any aim at all, it is to be a potentially endless proliferation of forms and colours.

3) It's true that many philosophers regard fashion as something trivial and beneath their attention. Doubtless this is why the most interesting work written on the subject has tended to come from the pens of our poets and novelists including Baudelaire, Wilde, Mallarmé, Edgar Allan Poe, Proust, and D. H. Lawrence. But there are notable exceptions to this: Nietzsche, Barthes, and Baudrillard, for example, all concerned themselves with the language of fashion and the question of style. And they did so because they understood that once the playful and promiscuous indeterminacy of fashion begins to affect the 'heavy sphere of signs' then the liquidation of values associated with the order of referential reason is accelerated to a point of rupture. Fashion, in other words, is a method for the consummation of nihilism. 

4) Closely associated with fashion is the practice of dandyism: whilst primarily thought of as a late eighteenth and early nineteenth century phenomenon, dandyism can in fact be traced back as an ethos or way of living to the Classical world of ancient Greece, where techniques of the self and arts of existence were accorded singular importance amongst all those who wished to give style to their lives (i.e. that one needful thing which, in all matters, is the essential thing rather than sincerity).

5) The world of fashion also understands and perpetuates ideas of camp and queer. The first of these things, thought of somewhat problematically as a sensibility by Susan Sontag, taught us how to place quotation marks around certain artefacts and actions and thereby magically transform things with previously little or no worth into things with ironic value and perversely sophisticated appeal. Camp thus challenges conventional notions of good taste and high art and also comes to the defence of those forms and, indeed, those individuals, traditionally marginalized and despised.

As for queer, it's never easy or advisable to try and summarize this notion; it's a necessarily mobile and ambiguous concept that resists any fixed definition. Indeed, it's technically impossible to say what queerness 'is' as isness is precisely what's at issue in its rejection of all forms of onto-essentialism: it refers to nothing in particular and demarcates a transpositional positionality in relation to the normative. In other words, queer is a critical movement of resistance at odds with the legitimate and the dominant; it challenges the authority of those who would keep us all on the straight and narrow and wearing sensible shoes.

6) Finally, fashion matters because, without it, figures such as Nunzia Garoffolo would not exist and without women such as this in the world, clothed in the colours of the rainbow, life would be as ugly and as dull as it would be without flowers. We do not need priests all in black, or politicians all in grey. But we do need those individuals who bring a little splendour and gorgeousness into the world, otherwise there is only boredom and uniformity.