Clothing. It protects us from the elements. It covers our nudity, which reminds us too much of our descent of apes. It makes us clearer, more definable to our fellow men.
This last function is where uniforms come into view.
The paradox of the uniform is twofold. First of all: The uniformity of the outer shell of a collection of people has one goal: to suppress individuality, to make clear that 'this' is one group, whether it be social, physical, bound by class, age or a common goal. But it's clear that everybody enters this world alone and for the rest of his life is trapped in his/her body and mind. You can never grasp what it must be like to be somebody else, however empathic you are. Second: the uniform is used to create objectivity and clarity but often spreads insecurity and doubt in the minds of those enslaved to its shackles. Disposed of a unique appearance, a person can go both ways: experiencing a calming sensation that one is amongst like-minded people and is part of the right path or feeling the blow of being bereft of his personality.
In a sense every fashion utterance is a kind of uniformity, an obedience to laws that get imposed by the commercial fashion world. That's why people who color outside the lines make such an impact on the world. Think of artists like Baudelaire, Salvador Dali or Frida Kahlo. Think of designers like Coco Chanel, Vivienne Westwood or Alexander McQueen. Think of fashion bloggers and exentrics like Isabella Blow, Anna dello Russo or Tavi Gevinson.
Someone who, in my opinion, captured the essence of the uniform is French photographer Charles Fréger (°1975). I came in contact with his work through a workshop I attended during my internship in the museum for photography of Antwerp. I also had the privilege to get to know the artist a bit during his stay in Belgium. An interesting man he is!
His work focuses on the human condition. A lot of his photographs are done in series. Each series depict a social group. Uniforms play an important visual role in his art.
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| Charles Fréger, From the series Portraits Photographiques et Uniformes, 2001 |
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| Charles Fréger, From the series Portraits Photographiques et Uniformes, 2001
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| Charles Fréger, From the series Rikishi, 2005 |
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| Charles Fréger, From the series Légionnaires Portraits Photographiques et Uniformes, 2002
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| Charles Fréger, From the series Légionnaires Portraits Photographiques et Uniformes, 2002
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| Charles Fréger, From the series Empires, 2010
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| Charles Fréger, From the series Empire, 2010 |
I know firsthand that Fréger has an immense respect for one of the most influential photographers of the 20th century, August Sander (1876-1964). This was a German photographer who proclaimed the 'Neue Sachligkeit' or 'New objectivity' as the standard for all photography. His detached approach resulted in a systematic portrait collection of the German people of his time. 'Menschen des 20 Jahrhunderts' or 'People of the 20th century' would become one of the most famous photographical oeuvres of all time. He divided the people by professions and social groups and captured them posing consciously before his camera.
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| August Sander, From Menschen des 20 Jahrhunderts, 1929 |
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| August Sander, From Menschen des 20 Jahrhunderts, 1929
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| August Sander, From Menschen des 20 Jahrhunderts, 1929
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| August Sander, From Menschen des 20 Jahrhunderts, 1929
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Fréger's work resembles Sander's in a couple of ways. The object is almost painfully aware of its representation of the self. People are separated in closed groups. Charles Fréger has an immensely vast oeuvre which brings to mind the hundreds of people Sander tried to archive. But in Fréger's oeuvre there's room for other facets of the individual portrayed.
Compare the gestures of the people in these following photographs.
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| August Sander, From Menschen des 20 Jahrhunderts, 1929
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| Charles Fréger, Portrait, 2007 |
Sander shows the cook during the exercise of his profession. The cooks on Frégers image display gestures specific to their respective personalities.
In this way he is a child of his postmodern time. Hyperindividuality is the norm, that's why uniforms are loosing ground in schools and professions.
But not on the catwalk. Uniforms, not seldom military, have always influenced fashion designers. Most recent at the shows for the Spring/Summer 2012 collections.
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| Lacoste, S/S 2012 |
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| Haider Ackermann, S/S 2012 |
Charles Fréger has also ventured out in the field of fashion. He's done some beautiful fashion spreads for magazines such as POP and Another Magazine.
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| Charles Fréger for Another Magazine, 2010 |
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| Charles Fréger for POP Magazine, 2010 |
His own projects even involve designing his own uniforms. He calls this project the 'Vis Voluntatis' and has designed a guard uniform, an iceskating uniform (an earlier venture in to the realm of designing) and even a Chinese Opera Costume.
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| Charles Fréger, 2007 |
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| Charles Fréger, Vis Voluntatis, 2008 |
Now if this isn't a successful crossing between art and fashion....
Have a lovely Christmas everyone, and wear something festive, be it a uniform or something more unique..
The Mere Alchemist
