THEORY TO PRACTICE - writing content

Writing content to go in the publication

When it comes to Meadham Kirchhoff, so much evidently goes into their work. They are very idea led, and there's got to be something behind what it is that they're doing. Their craft is a lengthy process, and it raises a lot of important issues - be it about feminism or how music affects the world.

A lot of what they do could be described by many as 'kitsch' and it's interesting to see how something can be viewed as overly tacky, yet still hold a lot of meaning. Kitsch is something that would be considered to be party of a so-called 'low culture', yet Meadham Kirchhoff's status in the fashion world does not portray this.

This publication will look at the contrast between something that at first glance could be viewed negatively, but presents it's viewers with a number of questinos that surround imporatant issues within today's society. Feminism, for example, plays a large role within their work, as does music as an inspiration - particularly Courtney Love [Hole]. Periods of music and change in society have a notable impact on design.

What is it about all of this 'stuff' that makes their work look the way that it does?

How does it lead to this idea of kitsch?

Meadham Kirchoff’s Spring 2011 show was said to have ‘positively spit fury’ by protesting the ways in which women of today’s society are increasingly being bound by endless expectations to be all things sexy - to be pretty, and to be sweet and innocent all at the same time. However, it seems that in their latest show, the two designers have managed to take it one step further with a collection heavily influenced by hyperfemininity, the riot grrrl movement, Courtney Love and zine culture. They’re not trying to replicate what it is that the grrrls would have been wearing or using typical punk cliche’s that are seen time and time again, instead they have created something that is said to be ‘totally refreshing yet grounded in it’s references’. This show in particular references Bikini Kill imagery and this idea of “the girls on the cake”, which may include models, beauty queens and showgirls. Meadham exclaimed “I wanted to take them off the cake, and put a real girl up there. A real girl not defined by feminine frippery, though she may occasionally indulge in it. To paraphrase Courtney Love: Who doesn’t want to be the girl with the most cake?”

Their most recent collection was described by one individual as ‘unconfined in spirit, feminine yet powerful, with the visuals of a 17 year old pagan goth girl experimenting with colours’. This has left many with a divided opinion - is it tacky and tasteless, or exhilarating and charming? Search for Meadham Kirchhoff, and what you usually see continuously popping up in the results is that one word: kitsch. To put it bluntly, kitsch is viewed by many as a word to describe bad art or a careless copy of good art. In an article that discussed this topic, Meadham Kirchhoff were said to have declined to provide a comment, which was considered to be because they saw the term as ‘pejorative’. However, Markus Lupfer, a fellow designer, stated “Kitsch mostly refers to an object that is slightly tacky, over-the-top and bordering on tasteless. It also often includes an element of surrealism, as well as suggesting things that are bright and fun and tongue-in-cheek.” It is definitely all about the way in which it is perceived and portrayed by the audience - many designers take it as a compliment, a positive thing. Kitsch in this sense isn’t trying to offend anyone, but it is simply the way in which the message is delivered. There is a sense of humour, and of course innocence, but there is still a strong statement being made. The buying director at Harvey Nichols, April Glassborow, explained kitsch in an article in the Financial Times “I suppose it’s a way of distracting everyone from the gloom of the economic climate. It’s something to smile about.” It’s fun, it’s over the top. 

Kitsch, in general, is in the dictionary as something that can be characterised as 'worthless pretentiousness'. It is a by-product of the industrial revolution, which made it possible to mass produce, yet many believe it wasn't until the 50s that it began to gain popularity - this was mainly because of developments within the plastics industry, and of course the development of other materials, which could be moulded to create unique items. In some people's eyes, straight away the use of plastic can devalue an item due to it's cost, and therefore may be viewed simply as unfitting. Kitsch art can try to appear to be a lot of things, be it cool, glamorous or sentimental, however it will always gesture a superficial appearance. It is said that it relies on repeating convention and formula therefore it inevitably lacks any type of creativity or originality. 

It has been said that kitsch has moved on from it's original description, becoming highly desirable, yet many will still remain divided on the matter.

It's easy to see how some pieces of art and design that hold the typical features of 'kitsch' are still seen as worthless, however, many elements of the word have been used in order to create work that is highly sought after - the work of Meadham Kirchhoff for example. The work of Meadham Kirchhoff it far from superficial, it is highly creative, highly original and is certainly seen as 'cool' by the fashion world. As with any form of art, it inevitably comes down to personal taste, yet does something that is described as kitsch have to be tarnished with it's past definitions: 'taste in the medium which we all have for enjoying and discerning beauty'. It has this ability to both attract and repel it's audience at the same time. It is said that 'it's lack of sophistication attracts us with a child like fascination, whilst at the same time clashing with notions of good taste'. 


Kitsch can be seen in the JH Lynch "Tina" print, which became the working-class interior of the 60s, there was the work of French artists Pierre et Gilles, and the 1980 series of soft-focus photographs by the one and only Jeff Koons.

Charles Baudelaire, a French poet, and noted art critic, looked closely at the relationship between art consumption and the idea of kitsch. "What is so intoxicating about bad taste is the aristocratic pleasure of being displeased." Baudelaire was stating that many gain a sense of superiority from this idea that people out there can enjoy and gain pleasure from work that others would regard as tasteless.

The word is being used too often, and often incorrectly also. There are evidently certain features of the word that relate to the work of Meadham Kirchhoff, however, whenever used to describe their designs it's always used in a positive manner. It will continue to be seen throughout the fashion world. For example, Prada's window display featured Hot Rod shoes 'conjuring an image of arcane Americana last seen in Grease' and Dolce and Gabbana created a 'series of gaily printed dresses and seperates covered in giant red chillies' where 'shoppers could not help but note: kitsch'. Muiccia Prada's banana prints were also seen as a massive hit, as well as the tourist postcard/tea towel motif collection. Tatty Devine happily reference their work to all things kitsch, and are comfortable with people calling them so. “Kitsch is familiar iconography with the volume turned up,” according to Tatty Devine designers Rosie Wolfenden and Harriet Vine. “Kitsch can exist in all things depending on how they are perceived and portrayed.” 

The term is becoming blurred, and there is no longer a clear definition. It's hard to say whether or not this is because we have moved on from what kitsch used to be, or whether or not it is purely no longer looked at in a negative light. Have people's tastes changed? Perhaps we enjoy kitsch now. Kitsch no longer just means Mona Lisa on a keyring, Andy Warhol on a mug. The use of the term in high fashion has allowed for a lot more appreciation of it's characteristics.