According to Porter, the unspoken language of clothes – the intuitive, often mundane, everyday choices made by artists – can send messages that shine a spotlight on our cultural and social landscape. "For the last few decades, artists have been putting themselves at the centre of their work through video, photography and performance in a way that has never happened before," he says. "Therefore, the clothing they wear is right at the centre of the work too. They’re sending signals to the viewer." The average older woman’s clothes are appalling’: sculptor Barbara Hepworth in St Ives, 1957. Photograph: Paul Popper/Popperfoto/Getty Images

What Artists Wear

Most of us live our lives in our clothes without realising the power or influence they can evoke/signify. But in the hands of artists, garments reveal themselves in a whole new fashion (pun well and truly intended). They are tools of expression, storytelling, acts of resistance and creativity. In some ways, reminding us how much clothes can be a canvas on which they/we show who we truly are. This entry was posted on Oct 4, 2021, 11:48 am and is filed under Author: Charlie Porter, Publisher: Penguin, Subject: The creative process. You can follow any responses to this entry through RSS 2.0. Next summer we have been invited to Helmingham Hall, one of the most romantic houses in England, by Edward and Sophie Tollemache. It will be an exploration of Helmingham’s 500 years of garden history, and of the gardens designed in recent years by Xa Tollemache, Edward’s mother. Work with what you have. As a young artist, you probably don't have a lot of money. Instead of pining for designer jeans way out of your price range, learn to build a stylish wardrobe without breaking the bank.

Personal Protective Equipment (PPE) is exactly that: equipment to protect you from health and safety risks at work. For the hair and beauty industry, recommendations from the Health and Safety Executive (HSE) recommends face coverings, gloves, aprons and - for some treatments - eye protection. Porter captures the various 'archetypes' associated with artists. He emphasises the shift from the 'codification of patriarchy to the breaking of the canon Araba Opoku, The Art Newspaper

art of getting dressed | Fashion | The Guardian The art of getting dressed | Fashion | The Guardian

T-shirts and jeans may sound like a mundane combo, but you can use your own personal style to stand out. Wear T-shirts of your own design or that are otherwise unique. Wear jeans that are other colors besides the typical denim blue.Consider tattoos. Tattoos themselves are an art form, and having a few may show off your creative side. If you consider your body a canvas, you might want to get tattooed in a way you find meaningful. Don't be thoughtless about it, though; you don't want to get a tattoo you'll regret. Lesley says, “Beauty therapists generally don’t make high margins off treatments so I think it’s reasonable to pass the cost (or part thereof) of PPE onto the client.” Tooled leather is fairly uncommon in modern belts, and wearing a tooled leather belt is a simple way of looking unique. As he cycles through the lives of Jean-Michel Basquiat, Sarah Lucas, Martine Syms, and Joseph Beuys, Porter's deep dive is a tender report on the legacies we leave behind and the clothes that accompany us along the way. Dazed Books of the Year

What Artists Wear - Penguin Books UK

It’s because they’re really one of the only groups of people who don’t have to wear a uniform,” he says now, speaking to HYPEBEAST shortly before the book’s release. “Even those of us who work in creative jobs, we all have a kind of uniform of sorts. Even if we’re all wearing a baseball cap and a sweatshirt, it has to be the right baseball cap and the right sweatshirt. Artists are really one of the only groups who don’t have that, because they tend to work in isolation.” It made me think more clearly and more honestly about how I dress, and it made me think more clearly and honestly about the way we all dress. I think it’s something that I kind of hint at in the book, even if I don’t say it so explicitly, but ever since I finished the book, I believe more and more that we are all experts in the language of clothing. We all recognize that Macron, say, is adopting the language of governing power in his suit, or is attempting to reveal personality with his unbuttoned shirt and hairy chest. We all recognize the authority of uniforms, like in those really stark photos of the peace negotiations between Russia and Ukraine, with the Russians all in suits, and the Ukrainians all in garments of stealth. Obviously it varies in different parts of the world and in different cultures, but it is also a universal thing that we all understand. It’s part of our social coding. And yet, I would say pretty much all of us deny this expertise. We’ll say, “Oh, this thing? I just put this on.” Or say, “I don’t know how to dress,” or “I’m not that interested in clothing.” Even people working in fashion want to make a point of the fact they didn’t take a lot of time putting their look together. Then some people outside of fashion have a kind of fear of fashion, of wearing the wrong thing, or feeling like they don’t know how to dress, which is all part of fashion making people become consumers and keep buying and keep buying. Sarah Lucas Self-portrait with Fried Eggs, 1996, C-print. Photograph: Sarah Lucas/Courtesy Sadie Coles HQ, London

Reading as a costume designer and performance artist, at points I wished the author, Charlie Porter, made a greater distinction between an artist wearing fashion or costume. On this rail, Porter found, somewhat to his excitement, a tuxedo coat by Lang that had been made for the model Stephanie Seymour to wear in his spring/summer 1999 show, in Paris. But whether flashy or not, for Bourgeois clothes were also repositories of memory. “She wrote again and again that she couldn’t bear to part with them,” says Porter. “In the end, she started using them in her work. A van took them all to her studio – an extreme action for her, the cutting of a chord – and this marked the beginning of an incredibly creative period in her career.”