The Per(ver)formative Aspects of Pandemic Fashion Performances: Moschino’s Deconstructive Marionettes

Abstract

It is said that due to the social and economic effects of the recent pandemic, fashion has been caught in a destructive position. One aspect is the material change of the fashion objects and the strong pre-eminence of the so-called “stay-at-home collections” against the earlier dominance of the ready-to-wear and haute couture garments intended for social events. An important feature of recent fashion changes is their reliance on current pandemic rules and the related political decisions. In my presentation, I will focus on an interesting example of these pandemic changes: Moschino’s 2021 Spring/Summer Collection. Moschino’s “Marionette Performance” is a perfect example for infelicitous performativity where the show is created in a per(ver)formative (in the Derridean sense) act in the catwalk space. I intend to show that performativity is broken at every step of the show. In this spring collection, not only are the mannequins substituted by dolls but the viewers – some are well known (e.g. Anna Wintour) – are also transformed into marionettes by Jeremy Scott. With a self-ironic gesture, anyone of us from the possible audience can be changed into a puppet. To analyse the performative character of the show, I use deconstructive approaches and ideas. I wish to emphasize the interweaving performative dimensions that, in a sense, preclude each other with the help of Paul de Man’s interpretation of Kleist’s Über das Marionettentheater. I want to point out the mechanical, meaningless materiality appearing in the marionettes’ movements on Moschino’s special catwalk. My lecture argues that in the movements of the marionettes the possibility of the clear manifestation of performativity becomes uncertain.