Cine y Televisión

Movement; thred between observer and performer in the fashion design and cinematography.

Movement; thred between observer and performer in the fashion design and cinematography. - Cine y Televisión

If well, the studies about sound live on an special place inside my academic interest
and of aesthetic/philosophycal reserch, the studie of movement belong to an even bigger group in wich such as a symbol or an aesthetic element, it converge on the artistic creation.

Understanding movement as the change in the perception of an element, wich reminds its previous position in the time that it marks a trajectory of transformation into its new nature. This phenomenon can be measured with the ratio of time/space creating an delusion of rithm in wich it can be read trough diferent chanels and it can be given a meaning and a purport that modify the element that once were still.

We need to remember that; movement itself needs to occupy an space therefore posses
a volume that can be valued. This space is possessed by the element at the same time as the halo o trace (img. 1) left behind by it, wich now is transformed into a new sign that contributes to the visual text of the whole ensemble that gives form to the aesthetic piece that is observed.


In the same way that the time is observed in mediums such as cinema, photography or dance performances, it can me observed on the confection of a piece of clothing.
Either way; haute couture o ready to wear, the garment is thought to be occipied by a body and to complement the its natural movement. On the manner that the garment is worn it extends the volume of the movement of whom hold the piece and is in this link between both sign that conect the body such as a symbolic entity with its sourroundings and context and the viewer atthe same time; creates an statment,go along with the individual as relly on the aesthetic experience.

This phenomenon can be observed in the work of Iris Van Herpen, whose designs possess its own movement (fig. 2). This motion, wich can ve apperceived leisurely induced by the delusion that the garments evoke, is constituted by prominent curved lines sequence so that they make believe to whom presence them that they are on a continuous bustle.

Well then, the movement is concived on a diverse ways and shapes, and is perceived by various channels on function to the position either the performer or the observer, nevertheless the movement percived by the performer, is also linked to a self visual projection, “We act according to our self-image” (Feldenkrais, 1972), and is within this process of construcion that this self image assemblies the conscious movement with a symbolic purpose; either the cinematic, corporal or the movement that is thought-out at the moment of design a fashion piece.

Fig. 2

Starting with the idea that “our self-image consists of four components that are involved in every action: movement, sensation, feeling, and thought.” (ídem) we can deliver the deliveration that movement is a piece of this mental structure built with visual elements that at the same time induce a kinesthetic sensation. This translation between senses is vastly among the synesthesial studies, and it has been used by Van Gogh and Kandinsky for their artistic pursuit. For example, in the piece of art Nu descendant un escalier n° 2 (img. 3) by Marcel Duchamp we are able to see a clear example of the idea of movement across the physical space.

This work is built overlaying images that visually represent movement as the prime subject of the artwork. We need to remember that in the visual media such as paintwork, the artist only has access of two dimensions wich physically enclose the artwork piece, but nevertheless, by using the perspective is posible to emulate a third one, providing volume to the image.


Duchamp, on the aforementioned piece, pretends to includes a fourth dimension; time. And it is through the interaction of this four dimensions that movement as visual element it’s shown. This breakthrough is originated by Poincaré for whom “neither Euclidean geometry nor three-dimensional were mandatory” (Danto, 1999). Among the ones that shared this thought we can encounter with the Duchamp brothers who held “a kind of effortindiscriminate to imagine how our experience would be under the auspices of different geometries” (ídem) this on the field of the ideas, representation and theory such as in the Duchamp’s artwork since “Both the sensation of movement and the nude are not in the retina of the viewer, but in his brain.”

(Ramirez, 1993). A contemporanean artist wich also explores movement and self image through the self-portrait; Andrea Villalón (quiero ver cómo tú ves), shared on her Instagram account the next photography (img. 4) on wich is shown the body movement of a basic action such as a leap. In this photograph we are able to see how the space inside the frame remains conected with the outlying space, and follows the continual movemen that seems to start from the outside. In this manner the movement becomes into the chanel of interaction between performer and observer.

However, once we understood movement as an independent element on the aesthetic creation we can compare it inside of the cinematic movement and the one that we are going to call “modelling movement”, that is observed in the fashion design.

The cinematic movement goes in fuction of the action, that is generated by the actor and by the camera, this movement places the observer as the receiver of a movement (from the camera) which directs the rhythm and the course that leads the movement. On the Iris Van Herpen works we notice inside de construction of the garments a variety of movement types, such as the

Fig. 4

vertical; that tour the body of the model, the axial; that seems to irradiate from the center through the garment,and the spiral; wich sorrounds the bodies either ascending or descending. these aesthetic manifestations of modelling movement also interacts with the viewer, working as a gravety center, that either way fixed inside the body, or moving through it, directing the observer in reading the visual representation of the design work. Being the modelling movement the ultimate goal of the fashion piece is posible to compare it with films such as “La Region Centrale” (Snow, 1971) by Michael Snow, and the “Volk” scene that is part of the movie “Suspirium” (Guadagnino, 2018) n which not only the dance movement is part of the cinematographic text, but the interaction of the costume with space itself. In the same way that it is observable inthe movie West Side Story (Wise & Robbins, 1961) the “I Feel Pretty”scene but taken to a different direction. One clear example of the convergence of cinematic movement and the modelling movement is the fashion film “La Beauté” (Maíllo, 2015) directed by Kike Maíllo for Oyshoin the 2015. In this example the camera movementdraw near the observer to the model, and the fabirc and garments work as elements that transit the cinematic space built by the director. Guille Deleuze state “cinema tells stories with blocks of movement/duration.” (Deleuze, 1987), this should gives us the key of the importance of movement as an independent element inside the cinematographic language. The members of the “Dogma 95” invited to the filmmaker to own the natural movement of the camera and the hand, insomuch as this organic movements appears more natural at the moment of capturing a or an escene in wich the movement either the one produced by the viewer or the elements within the frame are part of the cinematic universe.

This corporeal and organic movement is the same one that can be observed in the confection of a piece of clothing, being as this garments are made to be wear, habitate y them and most of all to contain motion inside and within them in the same way viewer habitates along with the director and the actors the cinematogographic space. In conclusion, leaving open the debate and the contra- diction due the immense filmic stock and fashion proposals; movement as a sign, has the same importance that the other elements such as color, texture, space, shape and rhythm. And this can be valued and understood through aesthetic analysis and the theories of design and cinema, not in vain filmmaking makes use of the design in many of their areas of production such as sound deign, production design and costume design. Being the movement either the modelling or the cinematic a temporal element wich requires an entity that perfoms it, and observer that witness it and a medium that holds it ; It is through movement that this interaction between creator and spectator in phenomena like cinema and fashion, having the director and designer as a mediatory in this relationship.

Quoted works
Danto, A. (1999). The conventionalism of Poincaré and the stoppages of Duchamp. Cambridge, Massachusetts, USA. Deleuze, G. (1987). ¿What is the creative act? Paris.
Feldenkrais, M. (1972). Awareness through movement. Health exercises for personal growth.
New york: Harper & Row Publishers.
Guadagnino, L. (direction). (2018). Suspirium [film]. Italy-United states.
Maíllo, K. (direction). (2015). La Beauté [fashion film].
Ramirez, J. A. (1993). Duchamp: Love and Death, even. Madrid: SIRUELA.
Snow, M. (direction). (1971). La Région Centrale [film].
Wise, R., & Robbins, J. (direction). (1961). West Side Story [film].

image 1: Untitled, Poor Traits Photography (Leonardo Rangel) 2018 image 2: Iris Van Herper Spring 2019
image 3: Nude Descending a Staircase, No. 2, Marcel Duchamp 1912 image 4: untitled, Andrea Villalón 2018

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Leo Rangel

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