Outward.A DCHA.: Yayoi Kusama, Louise Nevelson and David Hockney

«Leaning about the garments is very difficult.They represent trauma, failure, disappointment.My clothes, especially the interior, is a source of suffering because it hides an intolerable wound ».Louise Bourgeois wrote frequently in his newspapers on his garments.For her they evoked the memories about which she would later build her artistic work.In fact, a decade after his death, in his apartment in Manhattan his coat racks are kept intact: a white shirt with the word 'maternity' embroidered, several necklaces of pearls, leather coats and, of course, dozens of hemmut piecesLang: In his last two decades of life, Bourgeois only dressed in the sober designer's designer designs."For her, clothes was an extension of herself and her work," explains the fashion editor Charlie Porter, author of What Artists Wear (Penguin), an essay that deals with the peculiar relationship of the artists with the clothing.Because, except for honorable exceptions, the fashion designer usually dressed in anodin, as if he wantedalso speak implicitly about his obsessions and even his work.«The idea of the book was created after seeing a photograph of Agnes Martin with a kind of docked two -piece work uniform, exactly the same as the one designed by Craig Green a couple of years ago a couple of years ago.It is as if time had collapsed, ”says Porter.

Basquiat parade for comme des Garçons Photo: Courtesy of Penguin

It is not that great artists are also fashion visionaries;His way of approaching clothing is something much more complex.«During the twentieth century, art became a living experience, and artists began to be seen as the center of their work, a bit like their‘ best work ’;That is why many, aware or not, were creating their uniform, a way of being recognized (and recognizable) and, at the same time, of transferring their motivations ».There are, like Yayoi Kusama, who translates his artistic style to his closet almost literally.Others, such as Martin herself, the jeans of the sculptor Barbara Hepworth and Picasso and her striped shirt, which, as Porter explains, "created their own work clothes in a trade, that of an artist, who is free of any clothing restriction".But also those who encode their style based on slightly more complex purposes.

Louise Bourgeois Photo: Courtesy of Penguin

The colors with which David Hockney dresses are matching with the chromatic range of their paintings, but express something else, “their need to express themselves as queer and free in the California of the sixties, coming from a repressed British province and of afamily with few resources, ”says the author.Jean-Michel Basquiat ended up parading to Comme des Garçons in Paris because, apart from being the epitome of the artist-acebrity, his image married with the then subversive philosophy of the Japanese teaching: he dressed with carefully uprooted costumes, mixing second hand and signature garmentsto mean that luxury was something very different from the socially established. En el extremo opuesto están Gilbert & George, cuyos anodinos e idénticos trajes marrones los convierten en esculturas vivientes.And Cindy Sherman, famous for self -portrait disguised as different female social archetypes: «We exchange electronic emails with the excuse of the book, and told me that most of his work begins by choosing clothes.From the one who finds the character of the character, ”explains Porter.

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Georgia O'Keeffe Photo: Getty images

With regard to female artists, there is a more or less recurring uniform: the traditional garments of the male closet.Either to express freedom in gender (Frida Kahlo), playing the letter of comfort and the unnoticed to let the work speak for itself (Jenny Holzer) or by an obsession with the colors and shapes, such as GeorgiaO'Keeffe, always of a comfortable and neat black and white, who over the years was purifying his closet until he was only dressing robes of a then emerging Yohji Yamamoto.Because put to carry a label, that it is Yamamoto, that of Helmut Lang, that of Comme Des Garçons and all those firms that advocate leave the prevailing aesthetic fee.Another artist, the painter and sculptor Louise Nevelson already said, that to be taken into account in this area, "we had to appear to be above age, conventional luxury and the" typical idea of getting to get on ".In short, it is not the same to dress author fashion than to wear artist fashion.

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