Wearing the Good: A Kierkegaardian Exploration of “Messaged” Apparel
What might it mean to “wear the good?” This question arises from a dominating trend in contemporary spaces where objects such as clothing are employed to communicate desires and demonstrate ethical commitments to social causes, political institutions, beliefs, and ideologies. This paper explores the...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
MDPI
2021
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| In: |
Religions
Year: 2021, Volume: 12, Issue: 8 |
| Further subjects: | B
garments
B fashion theory B Søren Kierkegaard B Identity Politics |
| Online Access: |
Volltext (kostenfrei) Volltext (kostenfrei) |
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| 520 | |a What might it mean to “wear the good?” This question arises from a dominating trend in contemporary spaces where objects such as clothing are employed to communicate desires and demonstrate ethical commitments to social causes, political institutions, beliefs, and ideologies. This paper explores the use of garments to convey messages, ethical stances, and even public virtues. It specifically attends to how “messaged” garments, or clothing items that bear images, symbols, and phrases, achieve these ends. Fashion theorist Malcom Barnard rightly intuits that “we have to use things to stand for our thoughts.” Yet the use of these garments warrants concern. This paper explores how such garments are enmeshed in the fashion industry and marketplace, identifying specific troubles that arise therein. Engaging the writings of Søren Kierkegaard, this paper attends to the ethical and spiritual complexities of “messaged” apparel, revealing their failure to supersede ambiguities, and ultimately collapsing ethical desires into aesthetic paralysis. The paper argues that a Kierkegaardian conception of hope can effectively guide those who wear such garments, countering the inadequacy of these wares to sustain personal and communal commitments. Hope directs the “worn” person beyond politicized and ethically “messaged” apparel towards new ways of dressing: adorned in finitude, humility, and an absurd perseverance towards the good. | ||
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