Architect Rem Koolhaas created the brief Absorbing Modernity 1914 to 2014 at the 2014 Venice Architecture Biennale, where 1914 NOW draws its foundation. The driving force behind the four short films is the year 1914, and through multiple perspectives, the impact of war is presented in both imagery and its influence on culture.

‘The Violet Hour’

The collection leads with film director and animator Katerina Athanasopoulou’s The Violet Hour which explores the physical change of Europe and Edwardian culture through World War I. The focus of the film is a violet silk tea gown stored at Brighton Museum, a garment which is almost unrecognisable in modern day fashion. It was highly important for the aristocracy, both as an outfit used for the formal process of tea and as a precursor to the modern wardrobe, as it did away with the binding of the corset for the comfort of the lady. WWI is in plain view through an animation laid upon the tea gown and the imagery of war expressed in the late baroque painting, digitally manipulated to express the shattering effect of WWI on Europe.

‘Il Vestito Antineutrale’

The next film in the series explores the Futurist elements of fashion, through questions and statements made by Judith Clark, in regards to the Futurist Manifesto that was written when Italy had entered WWI in September 1914. Many of these statements tie the commonality of Futurism and the very nature of fashion, such as “The moment fashion is exhibited, it is fixed”. This is a work where the curator herself is wearing a TuTa by Vetra in 2011, inspired by Thayaht’s work in 1919, as well as showcasing work from Prada, amongst others. The Futurist Manifesto itself is touched upon as well, being evaluated for its aggressiveness and its influence in the world of fashion.

‘Crossed Crocodiles Growl’

Using CGI to multiply a single model to appear to be a whole military tattoo, Walter Van Beirendonck and Bart Hess have been able to emulate the authority that a militant formation expresses. Through the use of power in numbers, the film is able to display aesthetics that range from bold and powerful to silly and garish. Using an eclectic 8-bit soundtrack with field recordings and samples also aids the audience to be absorbed into the film. The focus of the film stems from the struggle of racism, the Stahlhelm and other militant dress. The juxtaposition of the headgear with bold colours and English-influenced design makes the film a viewing to remember.

‘Incunabula’

The film articulates the anatomy of failure through a 3D printed dress, as well as the aesthetics of beauty and fashion in a post-war world. The dress is discussed by the wearer and model directly to the audience. She talks about the dichotomy of the materials and façade of the dress, in comparison to how it is closer to a piece of art than a ready-to-wear garment. The nature of the dress is also brought up, though it looks delicate like the Irish lace it imitates, it is an aggressive garment that hurts the model. Though it looks light and free, it is restrictive, even to the point of changing the model’s mood and attitude. The nature of the dress is put into question when juxtaposed with a body suit that the model freely dances in. Perhaps it calls into question the nature of fashion since 1914, suggesting there can only be freedom through destruction. Even if a garment is beautiful, it may actually be manipulating the wearer to conform to archaic ideas. It is a brilliant end to the series of four short films, leaving the audience with questions about the nature of fashion over the past century.

For more information about the show, click here.

Image source: showstudio.com