“It’s often only the clothes that keep the male or female likeness”- Fashioning Masculinities: The Art of Menswear| V&A

Fashioning Masculinities: The Art of Menswear on display at the V&A explores the artistry, audacity, and ambiguity of male fashion.  Unravelling the history of masculine attire, the exhibition reveals how designers, tailors, artists and their clients and models have helped dress and fashion manliness. Contemporary outfits by legendary designers and cultural icons are displayed alongside treasures from the V&A’s collections and landmark loans. These include classical sculptures, Renaissance paintings, photographs, and film performances. The exhibition features around 100 looks alongside 100 artworks, displayed thematically across three galleries, Undressed, Overdressed, and Redressed. It traces the shifting ways of portraying masculine style: shaping and enhancing bodies, flaunting status and wealth, fabricating and dissecting tailoring norms and finally revealing the man behind the robe.

Historically, clothing almost had the universal function of creating and reaffirming gender and class differences. The exhibition suggests that men’s clothing and fashion present a historical oscillation between two recurring models marked and evident in contemporary Western societies: the playboy with the example of G.B. “Bea” Brummel associated with flamboyance, and the puritan masculinity emblem of moderation which consolidated the end of the 18th century. What emerges from the 19^th century onwards is the progressive genderizing of men’s fashion and the slow but irreversible process of dissolution of class differences.

Clothes and rules of decorum have been imposed on man, tailor-made to measure and challenge his nature often with reference to classical antiquity. Mark Twain suggests that ‘clothes make the man. Naked people have little or no influence on society’. Yet the first gallery challenges this assumption, presenting the male body and underwear alongside plaster casts of the Apollo Belvedere and the Farnese, painted and admired by 18^th century European elite on their Grand Tour in Italy. Since then, references to classical ideals of masculinity have permeated contemporary menswear, perpetuating a tradition of depicting toned and sculptural male bodies whose silhouettes are made increasingly visible under a pleated shirt, creating an in-between state of undress- neither completely nude nor clothed.

The motto ‘dress like you’ve made something of yourself, even if you haven’t’ reiterates the image of winning masculinity linked to social status and rank as well as to the performance of public functions. Between the 16^thand 18^thcentury, sumptuary laws and constraints of complex interpretation codified the elite masculine wardrobe of the European courts, often strongly characterized by flamboyant dressing, ostentatious embellishment, expensive fabrics and intricate patterns coming from all parts of the world. As we walk through the second gallery, we are constantly reminded that the opulence of outfits displayed was not deceiving of the status, wealth, and individuality of the men who wore them, men for whom functionality mattered less than the show. Oversized silhouettes, lavish materials like silk and velvet in daring colours, ribbons and lace, botanical motifs, and make up are only a few of the elements that defined masculine fashions of the time. Paradoxically we will find all these elements in a woman’s wardrobe today. The incongruity is not yet between femininity and masculinity, rather it is about flaunting or concealing social rank and boasting an economic availability that only a few could afford.

The last gallery explores how historic ideas begin to shift starting from the 19^th century, with extensive photography showing changing styles and attitudes. The new male fashionableness, born from the political turmoil of the French Revolution which despised the frenzy and folly of the Ancien Régime, promoted a more austere and rational approach to masculinity, reshaping menswear into the more practical and simple form of the suit. ‘Dressing well is a form of good manners’ became the anthem of the 19th-century man of fashion the Dandy, epitomised by the figure of Oscar Wilde. Industrial milling and mass-production of warm and practical muted wools coming from the English countryside’s tailoring industry, made clothing accessible to all spreading across the working classes of Europe. The greatest evolution of men’s clothing took place in the twentieth century, due to the affirmation of an informal and casual style for men, also informed by military attire.

The slow yet irreversible process of dissolution of class differences is accompanied by an implacable instinct to safeguard what previously belonged to men and the male sphere. A new ideal of man is outlined in opposition to that of woman. No longer the keeper of status and wealth, the modern man finds new life and virility in his gender and sex, in being born a male. All elements indicating fluidity, where the masculine merged with the feminine became a threat. Until recently, a man wearing even just a suit made from soft or draped fabrics would become the object of ridicule.

Deconstructing the idea of masculinity as it has historically been established opens a new perspective on the variety of possible masculinities that have unravelled over the centuries, from the Renaissance to global contemporaneity. The exhibition is certainly motivated by the intention to celebrate the multiplicities of male sartorial self-expression, dressing beyond the binary. However, as Armani reminds us “fashion is not unisex”. The great revolution in today’s fashion is not to be found in the dissolution of the alterity between masculinity and femininity, which would risk ridiculing and debasing both men and women, but in so far as we can choose to dress masculine or feminine. Nevertheless, we should never forget that we are choosing.

Fashioning Masculinities: The Art of Menswear V&A On now until Sunday, 6 November 2022 The Sainsbury Gallery

Buy your tickets here (£20.00)- https://www.vam.ac.uk/exhibitions/fashioning-masculinities-the-art-of-menswear

This exhibition contains some depictions of nudity. Advance booking is recommended.

Image features outfits by Orange Couture, Ahluwalia Studio, Martine Rose and Rahemur Rahman for Aranya Crafts Ltd. The portrait is of Alexander Cassatt by Kehinde Wiley 2017.

Reviewed by Rachele Nizi- After completing her MA in Reception of the Classical World at UCL, Rachele joined Abundant Art as a creative writer. Her British and Italian origins have inspired her to want to study Art History and European Literatures, with an interest in the afterlife of antiquity in the Western tradition.

This year marks the 20th anniversary of one of the ballet industry’s most innovative and enthralling companies ‘Ballet Black’. The celebration of two decades of work is being presented in the form of a double bill of performances hosted at the Barbican, showcasing the possibilities of ballet beyond tradition and stereotypes. Ballet Black was founded by Cassa Pancho, with the vision of changing the face of ballet by bringing more Black and Asian faces to the forefront of ballet, a genre typically dominated by white faces. The company has managed to do this within its 20-year run as well as provide the world with captivating and cutting-edge performances.

The first half of the double bill was “Say it Loud” choreographed by Cassa Pancho herself. It was an amalgamation of seven different performances that connect with each other, speaking to the audience as one. The performance is accompanied by voiceovers of thoughts and opinions that have been shared about the company over the years, from positive quotes about captivating performances to negative quotes such as bigoted comments and aggressions, that darker-skinned individuals in ballet often hear. The score consists of music assembled by Cassa Pancho, it is a combination of jazz, classical and rap. The merging of classical ballet, perfect pointe and elegant movements, with the rawness of contemporary styles of dance, is something that sets aside the dancers of Ballet Black from fellow dancers and made the performance so invigorating and engrossing. Some of the highlights from the  “Say it Loud” piece were a solo performance danced over a gloomy track called “Welcome to London”.  The sharp movements of the performer emanated his hurt and angst at the negative comments from the voiceover track played before he began dancing. Another was a heartfelt and romantic duet piece to Etta James’ ‘At Last’ that earned a standing ovation. ‘Say it Loud’ gave the audience the best of all worlds.

The second half was “Black Sun.” choreographed by Gregory Maqoma. The piece had a score consisting of hazy sounds and African chants  produced by Micheal Asante of Boy Blue, (also known as Mikey J) and described by Micheal himself as  “as a work that draws energy from the sun and the moon giving rise to descendants of ancestors.” Very different from the first half of the double bill it has a denser and more complex narrative and gives leeway for more interpretation about the meanings of the piece. Furthermore, the movements, combined with the eclectic score and how the gold on the costumes catches the light and makes the stage glisten and glow, make the performance hypnotic and otherworldly. The highlight of the piece, and the most entrancing and best moment of the night is the prolonged section in which the dancers vocalise along with the track as well as beat drums and synchronously tap their feet, creating a compelling and immersive atmosphere.

The performances were followed by a short Q & A session featuring Cassa Pancho, Michael Asante and dancer of Ballet Black, Cira Robinson, in which they talked about the past, present and future of the company, the production of the 20th-anniversary performance and answered questions from the audience. The panel received several questions surrounding the challenges and difficulties faced by ballet dancers of colour. Cira Robinson perfectly summed up her thoughts on these challenges stating that rather than focusing on the colour of their skin, the focus should be on the talent and prowess these dancers possess. This is when there will be true inclusivity within the ballet industry.

Ballet Black is set to perform a tour of their 20th anniversary double bill at venues across the UK, tickets can be found at their website: https://balletblack.co.uk/performances/.

Cira Robinson and Mthuthuzeli November were photographed by Bill Cooper.

Reviewed by Lian Lakhope. Lian is a MA Global Media and Communications student at SOAS and a volunteer writer for Abundant Art. Lian has written for a number of different publications, mostly about music, culture and film and she is enthusiastic about expressing her passion for creating art and media.

A world-first concerto, dramatic film scores and an on-stage appearance from Danny Elfman – Movie Legends performed by the London Philharmonic Orchestra was a true delight.

The first half of Movie Legends saw the London Philharmonic Orchestra performing the score of The Lord of the Rings: The Fellowship of the Ring, in its entirety. Conducted by Ludwig Wicki and featuring accompaniment from soprano Grace Davidson and the London Philharmonic Choir, the performance was enchanting. Through tranquil tin whistles and a thundering brass section, the audience was transported on a journey to middle earth. 

One of today’s premier composers, Howard Shore produced the musical interpretation for J RR Tolkien’s The Lord of the Rings trilogy and The Hobbit. Tolkien was a keen environmentalist, taking much inspiration for his work from nature – something Shore also relates to, “the connection to nature is very important to me, and I think that was also the connection to Tolkien’s work. I know how important that was to Tolkien and his writing: everything that was green and good”. The industrialisation and deforestation which Tolkien protested is hightlighted throughout Shore’s score with the innovative use of materials to create mechanical sounds – most notably, striking piano strings with heavy metal chains.

Following a short interval, we were reimmersed in musical storytelling with three shorter performances of Danny Elfman’s work – a new concerto, the Batman Suite and the Alice in Wonderland Suite.

One particularly special moment was witnessing the world premiere of Danny Elfman’s Percussion Concerto. The audience were captivated by Colin Currie’s every move as he performed the piece. Darting across the stage between instruments, Currie is a true showman. Of the new work, Elfman said ‘my greatest pleasure is when I can surprise the audience with my music’ and that he did. Although the piece was filled with Elfman’s signature glockenspiels, xylophones and jouncy rhythms, there were also a lot of new, experimental sounds. During one movement, Currie even bows the side of a xylophone, creating a deep underlying humming.

The London Philharmonic Orchestra were perfectly rehearsed, with every strike of a drum and turn of a page they moved together like a shoal of fish. Watching them perform these popular movie scores was an incredibly accessible and entertaining way to experience classical music – a perfect introduction. 

Photography by Michael Marais.

Movie Legends was part of the Spring/Summer classical music programme that runs through until June 2022 at the Southbank Centre. There are several performances to choose from and Southbank Centre even offers a multi-buy discount, tickets are available to purchase here.

Reviewed by Amy Melling – Amy is a Curator and Creative Producer whose practice is centred around community-led arts projects. Her current research is focused on curatorial methods for exhibiting artworks outside. Amy has a keen interest in the arts and recently completed an MA in Curating and Collections at Chelsea College of Arts, UAL.

Steve Gallagher – saatchiart.com/all

Emily Penfold – saatchiart.com/all  emilypenfold.com/light-art

Collage photo picture created with Canva.com / all photos provided by the Artists.

Written by Julia Nelson who does operations and marketing for Abundant Art.

The Chronic Youth Film Festival at the Barbican is a yearly event that offers young programmers the opportunity to craft a selection of international and British films, tied together under some common themes. This year marks the 7th edition of the festival and its return to theatres after two years of screenings online due to the pandemic. The chosen movies pivot around the central question of “Home” and what that means to those facing adversity.

The joint screening of the Dominican film ‘Bantú Mama’, and the Brazilian short documentary ‘Mother’ tied perfectly together, both navigating through themes of chosen families, newfound homes in hostile environments, music and the African diaspora.

Mother’s young directors Jas Pitt and Kate Stonehill believe in the exploration of conflict through creative devices and in the art of playing with genre convention. Their short documentary on the queer communities of artistic performers in Brazil delves into their stories, their trauma and the insoluble bond of solidarity that ties them together through dance and performance. We witness the heart-warming dynamics of the group and their theatre director, “Mother”, who acts as a confidante and a guide towards her pupils. We watch her help the healing process of her young artists, who share touching stories of assault and violence, through spiritualism, love and dance. Without overwhelming us with over-editing or over-politicisation, the film trusts its raw material and lets images and unscripted conversations speak for themselves. More than portraying a community, the film plunges us into a colourful and spectacular world of performance through beautiful imagery and music.

Bantú Mama is a Dominican film centred around the misadventure of Emmanuelle, a French-Cameroonian woman who is forced to hide from the police in the barrios of Santo Domingo. She finds refuge in the house of three parentless kids, who have become the adults of their own house and mend for themselves. An unconventional but joyful dynamic is quickly born, as the three bond over stories, music and hair, and the kids get to experience a glimpse of the childhood they were stripped of. But their harmony holds by a thread, and it is obvious that by staying there, the kids are destined to follow the same path of drug and weapon dealing as their family. The director Ivan Herrera is passionate about photography, which shows through the beautiful and deeply symbolic imagery and the creative use of colour. Clarisse Albrecht, writer and main star of the movie, uses many autobiographical elements that interweave with the character of Emmanuelle, such as her Franco-Cameroonian origins and her nostalgia for Africa. A very personal and cinematographically gorgeous film, that fits perfectly within the narrative of newfound homes.

Both the programming of the festival and the movies were remarkable and proved that the young programmers were more than up to the task that was given to them. Check out Barbican’s new events at https://www.barbican.org.uk.

Bantu Mama + Mother | Barbican Photography

Reviewed by Céline Galletti- Celine is a volunteer writer for Abundant Art. Originally from France and Italy, she follows her passion for writing and art by studying Comparative Literature at UCL, London. As an international student living in London, she is determined to fully experience and understand the city’s vibrant arts scene, and be a part of its creative storm.

The Young Vic’s latest production, The Collaboration imagines the often tumultuous, sometimes adoring relationship between pop culture icons Andy Warhol and Jean-Michel Basquiat. Young Vic’s Kwame Kwei-Armah directs this world premiere of Anthony McCarten’s drama.

Seeing The Collaboration starts from halfway down the street. The heavy bass from the live DJ in the theatre reverberates through the dark entrance and to the queue outside. This high energy atmosphere continues inside, as the audience chat loudly and dance in the aisles. However, when the show begins there is a disconnect – for the most part, The Collaboration isn’t a party but an intimate conversation between two people.

Set in New York in 1984, The Collaboration begins as Andy Warhol’s popularity is declining and Jean-Michel Basquiat is up-and-coming. After both reluctantly agreeing to collaborate on a new exhibition, we follow their relationship as it matures – or at least how McCarten imagines it did.

With an entire cast of four people, we spend much of the time with just the two protagonists – luckily, both deliver fantastic performances. Paul Bettany’s Warhol is self-loathing and insecure, often enticing Basquiat into lengthy dialogues about his theories on the commodification of art. But he’s also funny, frequently delivering dry one-liners that send ripples of laughter through the audience. In The Collaboration Warhol hates paint – is scared of it. Whereas, for Jeremy Pope’s Basquiat, painting comes easy. At first, Basquiat is detached, having been forced into working with Warhol by their mutual gallerist, but it doesn’t take long for his vulnerability, warmth and passion to become evident.

The first half of The Collaboration sees the pair meet in Warhol’s studio. We witness their initial interactions – both guarded, a little closed off. Warhol seems to talk non-stop but gives little away, often picking up his video camera to further hide behind. Every time he does, we are focused in with clever lighting, as if looking through the lens ourselves. There is tension as Basquiat gets increasingly frustrated as the subject of Warhol’s film. This part is a slow burn, perhaps maybe losing steam a little towards the interval. 

However, in the second half, there is a definite shift – three years have passed and the pair are still working together, this time in Basquiat’s loft apartment. Upon entering the stage, Basquiat runs to Warhol, greeting him with a long embrace. Here, Bettany and Pope do a remarkable job of entirely shifting their body language to portray close friends. 

The Collaboration explores a lot; relationships, racial discrimination, police brutality, the art market, sexuality… but much like Warhol’s approach to art (according to The Collaboration, anyway), just on the surface. That said, The Collaboration is a thoroughly enjoyable, often hilarious production. 

The Collaboration runs at the Young Vic Theatre until 2 April 2022 and tickets are available here.

Reviewed by Amy Melling – Amy is a Curator and Creative Producer whose practice is centred around community-led arts projects. Her current research is focused on curatorial methods for exhibiting artworks outside. Amy has a keen interest in the arts and recently completed an MA in Curating and Collections at Chelsea College of Arts, UAL.