OE-O

Binomia Expressing the tension of the binomial sum of fashion and art, the development of this collection began through gathering and analyzing the thoughts and opinions of key players within the fashion and art industries throughout the United Arab Emirates, considered the cultural hub of the Arabian Gulf. That which is desired is often not found, as with complete consensus between participants, which eluded this exercise. Rather, opposing opinions on fashion’s inclusion in the greater fine art dialogue availed themselves. Utilizing in conjunction the thoughts of Durkheim and his ‘social facts’ and Baudrillard’s ideas on value within objects, Binomia seeks to demonstrate differences through displaying the strikingly dissimilar ways which objects can appear when viewed under and through diverse applications of light. This is intended to reference the current population of the region and the variety of social facts which are culturally presubscribed to individuals and accumulated within this highly multi-national area. The light sources stand to represent these social facts, with the garments as meaning and value holding objects, subjected to the aesthetic critique and consideration, as is art. Photography was used not as the art form intended for contemplation, but rather as a means of capturing the garments –the intended art pieces- in their varied forms, allowing the concept to materialize and avail itself for dissemination, as all art works require both a maker and a viewer to actively exist. The concept development, construction and treatment of the garments reflects some of the opinions of those involved in the fashion and art industries, guiding this project to a point where consideration as both fashion and art should be possible. There is no commercial value assigned to these garments. Their display occurs on both the body and unanimated support, and their construction occurred in a studio setting with the intention of making art applied throughout. A model was utilized within the photography, however the garments were not intended to be a medium through which performance art occurred, but rather to demonstrate the strong geometric construction of the pieces, and their ability, like the fine art and fashion industries within the region, to bend, fold and flex. A minimal setting was chosen to allow the garments to be the focus of viewers. The garments were designed in a way which best demonstrated the differences in light, including multiple layers and voluminous surfaces on which the spectrums could play, utilizing high quality materials adding an additional layer of value. The idea of the seen and the unseen, the projected and the actual, ideologically visible and invisible are all present within the collection, illuminating the importance of degrees and spectrums of consideration, the duality of life, and the production of binomial experiences.