Sean Ryan

This paper is part of a project to rescue fashion from the social sciences and restore it to philosophy. In Kawamura's Fashion-ology, power is understood solely as legal or institutional power. The work's strictly sociological approach means that, though the two are rightly distinguished, clothing continues to haunt the logic of fashion, and there is little reflection as to why the system of clothing and not some other commodity lends its name to cultural neomania in general. What is lacking is an analysis of the specific nature of fashion's empowerment and disempowerment of subjectivity. For this we need to enlist Foucault's genealogy of power, which also has the advantage of explaining strategic resistance to institutional power. However, Foucault's account is itself unsatisfying, because it avoids offering a theory of power while nevertheless assuming one. Foucault's critique of power quietly assumes Nietzsche's metaphysic of power, the incessant, embodied movement of self-empowering and self-overpowering. The corporeal subject of this self-production is nothing but surface, one that extends to the surrounds of its world, and the ceaseless rhythm of its embodied self-presentation is fashion. Barthes insightfully observes that, were its rhythm to be disrupted by cultural developments, the intense jostling that resulted would be the beginning of a new history of fashion. Yet there is incoherence to this claim, for if the rhythm of fashion were to turn into the chaos of arrhythmia, then we might instead conclude that fashion was at an end. Barthes' uncertain prospect of a new beginning points to what I call, following Heidegger, the powerlessness of fashion. This is not intended as criticism, since this powerlessness is nothing negative but rather that which exceeds the limits of fashion while giving rise to it. But on questions concerning the historicality of its beginning and the finality of its self-understanding, the sociology of fashion can have nothing to say.