The disappearance of formalwear rules is perhaps the most obvious indication of the changes taking place today among new generations, the visual testament that best describes the dissolution of social roles and, consequently, of wardrobe aesthetics. Without even considering official statistics and political debate, the state of new workwear is already proving to be the perfect embodiment of a new way of understanding an individual and his or her associations at work and at home. In the beginning, there were suits, precisely the three-piece-suit, lined with the rhetoric of male efficiency, an icon that, back in the eighties, women appropriated in their public redefinition. Today, that sense of formal dress is vanishing, or rather, it is reformulating itself, leaving behind hierarchies of power and gender definitions. Cabinet is trying to fill the void that is being left. It is first and foremost a study of identity and of self-definition through the primary elements of color and fabric, which speak to a well-defined community and to the abandoning of rules and ceremonies of the past.The disappearance of formalwear rules is probably the most obvious indication of the changes taking place today among new generations, a visual testament that best describes the dissolution of social roles and, consequently, of wardrobe aesthetics. Cabinet is trying to fill that void: It is a study of identity and of self-definition, through the primary elements of color and fabric, an attempt to design new workwear, leaving the rules and ceremonies of the past behind.
Civil engineer at BFE Industries using the new Rotring Drawing Board, early 1980’s, courtesy of Tyne & Wear Archives & Museums, Washington, UK.