michael j. morris


Urban Regalia

Friday, 14 August, I had the opportunity to see the premiere of Nathan Hurst’s new couture collection “Urban Regalia” at his show “Off with Their Heads” at CS13 in Cincinnati, Ohio. According to the show’s facebook, “Urban Regalia focuses on a royal renewal of precious vintage finds, explores the reconstruction of former garments, and serves as a host for his [Hurst’s] original design concepts inspired by a reinvention of historical regalia.”

I haven’t stopped thinking about this show since I saw it. I’m not quite ready to commit those ideas to type yet, but I thought I would go ahead and let you in on this inspiration in my world right now. Suffice to say that it was a brilliant first showing from a talented young designer/artist:

urbanregalia_001

urbanregalia_002

You can read Matt Morris’ article about Hurst and the show in CityBeat here.

You can also see images from the show at CS13’s facebook page.

Hurst just posted this video this week. Many of the pieces from the collection are on display. What I love most about it is that just as many of the pieces are appropriated and repurposed garments, their transmogrify is heightened further in their transgression of traditionally gendered morphology on the body of the designer. Just as Hurst engages in processes of “renewal” and “reinvention” and “reconstruction” of vintage finds, former garments, and historical regalia, their situation on the male body both further recreates the garments themselves, and recreates the meaning of the male body. Amazing:

I have an evolving ideology on the concept of the actual body and the social body. The actual body in my mind has to do with biological morphology. The social body refers to the contextual connotations that we associate with the body. The way it’s dressed, the way it’s depicted, the way we think about it because of its treatment in culture. Identity (including corporeal/kinesthetic identity) is situated somewhere in the midst of these. This seems to be the hazard of any sort of focused research: suddenly everything relates to your research interests, but I love how Hurst’s work and this video in particular  relates to my interests in the relationship between the body and identity, and that relationship to the choreography of identity.

I don’t want to make too much of the video as a “video dance” (for those of you who are unfamiliar, “video dance” is a whole field of dance expression, choreography and dances specifically made to be explored/directed/displayed via video rather than live/stage presentation), but I do have critical responses to the movement in the video, not just the garments it animates. To be clear, I view the organization of the body itself as a kind of choreography, the carriage of the body, its stance, its dynamics. But there is also the movement itself. Of course the most obvious observation is its appropriation/mimicry of the runway format, the advance and the retreat, the gate of the “model” (and to be clear, I read it as meaningful that in this case the model also happens to be the designer . . . it relates to my perspective on the choreographer and the dancer (see previous post), a relationship that although different is similar in that it involves the creative action of one individual, the negotiation of that creative activity on the body of another, culminating in an event that represents the identities of both. Here, those individuals are the same, the creative activity of the one individual recreated/translated on the body of that same individual, all taking place in and through the site of the singular body), and the punctuation of poses both near to and far from the camera lens. The advance and retreat reads as meaningful to me: the retreat gives way to the advance, moving away gives the opportunity to move forward once more. It’s aggressive. I like it.
I’m also struck by the contraction of time. We know because the outfits change that a remarkable amount of time has passed in the filming, but we are given something far more surreal to be viewed, in which events occur one after another, like a series of fevered memories (memory being the space in which time becomes flexible, fluid, non-sequential). This contraction of time seems to reflect in video editing what has been done in the construction of the garments. It says, “Look again. And again. And again. Because what it once was is not what it is any longer.”
I am also struck by the gaze of the model/designer (can I add “dancer” if I am viewing the video as a kind of choreography?). While the video reads to me as an aggressive invitation to gazed upon, it’s confrontational. The model/designer/”dancer” gazes back. The viewer can actually meet his eyes (negotiated through the video . . . and I can’t even begin to discuss the politics of presence and absence in the medium of video, not in this post). When he is undressed, it is he who undresses himself, not the viewer undressing him.
I love the drama of the tossed fan, the thrown jacket, the twirl of the long white dress, the coy smiles, the laps when he doesn’t pause to be viewed, but moves towards and away in a single path, almost as if to say, “You can look, but I’m not going to assist you in your looking.”
There. That’s my brief critical dance response to a fashion video.

Oh, and this is a picture of Matt and I at the party after the show. I think we look nice:

couture_michael

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4 Comments so far
Leave a comment

Cool blog. So, what’s next?

Comment by jakyastikpress

Thanks for the comment, Jaky.
Well, if you mean what’s next for Hurst, he is collaborating with a performance arts group called Pones Inc. in a fundraiser for Semantics Gallery in Cincinnati on August 29th.
Then he is participating in People’s Collaboration with Pump and Mitchells Salon, also in Cincinnati, on September 20th.

If you mean what’s next for me, I think reading the last few posts might be the best answer to that question. To be honest, I find the concept of “next” to be less important than the concept of “now.”

I hope that answers you question.
-M

Comment by morrismichaelj

Well, you are so to the point! Cool!

Comment by jakyastikpress

[…] able to attend the premiere of Hurst’s “Urban Regalia” couture line this summer (see post) and have been excited to see how he and his work continue to take […]

Pingback by More from Nathan Hurst « Betwixt Thee and Me Let There Be Truth




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