Men in black, nowadays
Lucien de Guise heads back in time with this fascinating exhibition on the evolution of men’s fashion through the ages currently at London’s Victoria and Albert Museum
A good exhibition is about more than the artefacts. Clothes can look exceedingly dull when placed on a headless mannequin, but the display and lighting here are a pleasure for the senses.
FOR once, an exhibition at London’s Victoria and Albert Museum is not overbooked. Almost every show that happens there is sold out for the next few months. The museum’s examination of Iran, for example, had to be extended to accommodate the interest — and Christian Dior had to be extended even further.
Somehow, “Fashioning Masculinities” hasn’t had the same effect. It’s a wonderful exhibition with excellent reviews. Why aren’t there the same queues waiting to pounce on the online booking system every time new tickets are offered? My guess would be the title.
It’s accurate but off-putting. If the same exhibition took place in Malaysia, it would have had something lighter and more comprehensible to tempt us with. The religious authorities in Malaysia might suggest a few changes, but in general, this show would be good to go.
Malaysian men like clothing as much as in most places, and local traditions are rather more flamboyant than the dowdy English male of the past century. Few national outfits for men would beat the baju Melayu in acid pink or yellow. Batik and songket are equally likely to be up there with the world’s greats of male statement dressing.
PLEASURE FOR THE SENSES
This exhibition is very much about Western style, often pepped up by Asian imports that, at different points, have impressed the beau monde of Europe. America doesn’t get much of a look in as it is too new and generally staid in its approach — apart from the famed Hawaiian shirts, which are now worn by almost everyone except Americans.
For most of the past 500 years, it has been Europe that has innovated the most, often thanks to textiles from India and China. I looked hard but couldn’t see a lot of influence from Southeast Asia, let alone Malaysia.
A good exhibition is about more than the artefacts. Clothes can look exceedingly dull when placed on a headless mannequin, but the display and lighting here are a pleasure for the senses.
Once the visitor has got past the first section, with its proliferation of ancient Greek statuary and emphasis on bodily perfection, one can enjoy the stuff that hides the male form — to most viewers’ relief, no doubt.
At this point, I was expecting to see that famous old photo of Vladimir Putin the equestrian, with a rifle strapped across his bare chest. Fortunately, the visitor can move on safely to more aesthetic dandies of the past.