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Uniform And Occupation: Why Should We Wear Uniform?

2020/6/23 7:19:00 0

Uniform

On the taste, culture and discipline of uniforms

The most vivid expression of the subtle relationship between dress and occupation and social status is that the two years in a short video culture are illustrated by a fancy: snobbish luxury salesmen distinguish people who have the ability to consume by looking at their clothes, resulting in a face crash.

But in the face of the social and symbolic "shell" of clothing, everyone is subconsciously trying to "take clothes for people". Believe it, pick a six hour rush hour in the evening, stand at the crossroads of the city center, observe everyone in front of you, try to judge their careers by outward appearance, your brain circuit should not be much different from the salesperson in the above paragraph. When faced with the final form of clothing symbolization - uniform, we are even more so. Paul Fusel, a hot tongue scholar who studies style and taste, has published a book called "taste uniforms", describing everything from boy scouts to nuns, from 3K parties to company staff, from sailors to gatekeepers. "The information conveyed by refraction of oneself and dressing is sometimes unexpected," said Mr.

Uniform and occupation

The MAST Museum of art in Italy has planned a theme exhibition of "uniform" called "UNIFORM:INTO THE WORK/OUT OF THE WORK" this year. From the beginning of September to the time of the exhibition, the exhibition of 44 photographers from 20 to twenty-first Century showed a total of more than 600 photographs showing different kinds of costumes worn by workers in different social and historical backgrounds. The purpose is to observe the relationship between uniforms and workers to reflect the dual nature of "acceptance" and "exclusion" in uniforms.

The Japanese philosopher Suda Shinichi put forward a view in the book "weird body and fashion": the clothes we wear are like a whole body portrait of the body that is concealed and invisible. "Society gives us all kinds of meanings (gender, character, occupation, life style, etc.), not only the objective existence of the body, but also the inherent attributes and social attributes. The attributes will make up our "image", and let the image be packaged and enhanced by various forms that can be seen.

The "Small Trades" portrait series presented by the photographer Irving Penn in the UNIFORM exhibition is a good example of Suda Shinichi's view: in 1951, Penn invited ordinary laborers from New York, Paris and London on the streets, pastry teachers, firemen, small traders and butcher. These ordinary people, dressed in work clothes and holding daily tools, have completed the portrait with Penn. After nearly 70 years now, they do not need to see the exhibition labels. We can easily learn their different occupations and identities simply by the work costumes of the characters in the photos.

Under the lens of Penn, the love and sense of belonging to work and career after the 1950s war, and the pride of work, can be known through their pride in their work uniform. Although the uniforms they wore were originally designed for functional or defensive purposes, different uniforms always had different symbolic meanings. Every detail of it, from tailoring to coloring, has a profound human experience in this industry, which outlines the daily movement of people in this industry.

Uniform and class

John Berg, the author of "watch the way", and British art critic, in his "suit and photo", analyzed the images of Western-style clothes in different photos of August Sander, a German photographer.

August Sander's twentieth Century series of photographs of mankind is also included in this exhibition. In a photo of a farmer named "going to the ball on the road", three farmers in three suits are standing on the countryside road. Another photo of the Protestant missionary is the same people dressed in three suits, but their profession is a missionary. But from the point of view of John Berg, "these static pictures show that suits will not only cover the social strata of their wearers, but will emphasize them and highlight them."

In his view, the suit developed in twentieth Century as a "uniform of the ruling class's mutual understanding" and "idealized clothing belonging to the crowd far away from work". Therefore, the tailoring and the details are also aimed at modifying the static body shape. "But farmers have a special physical dignity: it is determined by a functionalism that allows the body to relax completely in labor." The contradiction between their body posture and the shape of their suits is very obvious. When they wear fashionable suits in fashionable clothes, they have a strong body shape in the outline of the suit, and they have no reason to be labored in rough and awkward labels by the people who make the rules of the suit.

In John Berg's eyes, this is also an image example of "class hegemony" by Antonio Gramsci, a Italy Marx thinker. If you want to show your identity, you have to wear a suit, whether it suits you or not.

And another exhibition, photographer Florian van Roekel's heap program "How Terry Likes His Coffee" series, is a modern extension of the John Berg perspective. Roekel spent 15 months on the daily habits and working posture of candid staff in 5 different companies, so as to explore the practical impact of professionalism on people.

Florian van Roekel did not turn her gaze on the whole character. Instead, she tried to restore their daily life by focusing on the state of their suits and shirts. It is also a suit and shirt, but it is not difficult to infer from the distribution and quantity of the crevice between each employee's clothing and the local leveling or upheaval that they are long standing sedentary hunchback clerks. They need to run around the driver regularly, sell the phone regularly, or the suit has always been as tall as new.

These seemingly no "suit shirt" matching, but unwittingly become the uniforms of enterprises. Although it is not consistent with the dress function, working state and social form that everyone needs. But this may be the disciplinary mechanism of Foucault's "new deindividuation" brought about by modernity: the power imposed on the uniforms through the restraint of the uniforms is accepted and internalized by the wearers.

Uniforms and rebellion

The work of the famous portrait photographer Rineke Dijkstra, "Oliver", also appeared in this exhibition in Holland.

Dijkstra spent three years tracking and photographing a young soldier, recording his transformation from enlisting to military training. The work is more intuitive to show how the uniform and rules interact with human identity: from the first photo of Oliver, to the midst of the mid-term adaptation stage, the confused look in his uniform, and then to the last photo. It seems that it has adapted to the existence of the uniform, and looks serious and firm. It is no different from any soldier in uniform.

It can be seen that clothing and the imposed identity are mutually reinforcing and mutually reinforcing. In other words, if individuals want to shape their own identity, the simplest initial step is to resist "uniforms" and find their way to dress.

In the German director Wim Wenders's documentary "urban fashion shorthand", Yamamoto Teruji, who interviewed us, said: "when I was young, I always thought that I would not wear the same clothes as adults. I had to break the balance and always dress deliberately sloppy. At the beginning of my schooldays, I resisted so stubbornly. When I started working, this idea has been deeply rooted in my mind.

In fact, everyone in the school age, whether it is shortening school uniform, wearing graffiti on school uniform or wearing a half school uniform, has more or less resisted. But after adulthood, fewer people have the courage to despise their work environment uniform and the so-called "dress code".

By contrast, the artist Walead Beshty is obsessed with capturing the clothes of rebellious adults. His solo exhibition, "Industrial portraits", was also included in the UNIFORM exhibition.

"Industrial Portraits, composed of 364 portraits of artists in the art industry, shows their dressing styles that do not conform to any social rules. They express themselves in a variety of strange costumes. Beshty wants to express a view of anti-uniform in her works. But in the final analysis, the "uniform" in the art industry is "the more personality the better the dress," if you really want to achieve anti-uniform. For artists, wearing the most boring insurance promotional chemical suit is the real "personality".

As the curator Urs Stahel mentioned, "in Italian, there are two equivalent words of uniforms, namely" uniforme "and" divisa ". The former emphasizes the meaning of uniformed unification while the latter emphasizes the concept of separation. The uniforms themselves are manifesting that" unification "and" separation "are actually two interrelated behaviors. On the one hand, under the uniform uniforms, individual personality, characteristics, class and background are hidden; on the other hand, the concept of uniform conception is emphasized to highlight the identity of the collective and distinguish it from other social groups. Whether it's a sign of the group, the extension of the class, or the threshold of fashion, we talk about uniforms, but we are talking about more than just uniforms.

 


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