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Palliative Prototypes or Therapeutic Functionality? Examining C.P. Company’s Urban Protection Range

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Wearable Objects and Curative Things

Part of the book series: Palgrave Studies in Fashion and the Body ((PSFB))

Abstract

Towards the end of the 1990s, a reoccurring theme within contemporary fashion was of the body in trauma, decaying, degraded, or ill at ease. Simultaneously, as anxiety over the physical and psychological threats of ecological, environmental, and digital catastrophe intensified, a potential panacea was being proposed by the augmentation of technology within hybrid garments to alleviate these harms. The Urban Protection range developed by Moreno Ferrari for the Italian brand C.P. Company between 1997 and 2001 was a pivotal moment within menswear design, proposing a series of garments that performed as synthesises, acting as multifunctional protective barriers between the wearer and a hostile urban environment. Incorporating complex, mostly hidden technology into each garment, the specific restorative or enhanced functionality contained within these clothes acknowledged the complexities of the physical, environmental, and spiritual issues facing mankind at the end of the twentieth century. A jacket detected pollutants in the air and alerted the wearer via an LED screen; a trench coat was enhanced with hidden electronics to release soothing music; a parka featured an integrated anti-smog filtration mask, and another jacket was equipped with a personal safety device that emitted a loud, piercing scream. Yet, while these vestments possessed modern iterations of digital functionality, their accompanying textural descriptions alluded to ancient notions of protection, by referencing the womb, inner silence, the soul, and the creation of a shell for consciousness.

This chapter uses object-based analysis to examine Ferrari’s augmentation of the body through the creation of a system of technologically complex garments, situating it within the history of fashion’s utopian temporalities. It interrogates Ferrari’s use of text and its correlation to contemporary art practice, as a strategy for repositioning the augmented body within a metaphysical heterotopia.

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Notes

  1. 1.

    On trauma and art, see Hal Foster, ‘Obscene, Abject, Traumatic’, October 78 (1996): 106–24. On fashion, see Caroline Evans. Fashion at the Edge: Spectacle, Modernity and Deathliness. New Haven and London: Yale University Press, 2003, and Rebecca Arnold. Fashion, Desire and Anxiety (London and New York: I.B. Tauris, 2001.

  2. 2.

    On culture and anxiety at the end of the twentieth century, see Renata Salecl’s On Anxiety (2004) and Timothy Bewes’ Reification (2002).

  3. 3.

    On the changing use of ‘palliative’ in medical journals from the mid-nineteenth century onwards, see Taubert M, Fielding H, Mathews E, et al. 2013, ‘An exploration of the word ‘palliative’ in the 19th century: searching the BMJ archives for clues’, BMJ Supportive & Palliative Care 3: 26-30.

  4. 4.

    Lori Wiener et al., 2015. ‘Threading the Cloak: Palliative Care Education for Care Providers of Adolescents and Young Adults with Cancer,’ Clinical Oncology in Adolescents and Young Adults 5: 1–18

  5. 5.

    Deriving from the Greek therapeutikos, meaning to attend or to treat, the therapeutic is an elastic concept that sits somewhere between the palliative and the curative (a complex term unpacked in the introduction to this book).

  6. 6.

    Christine Poggi, 2009, Inventing Futurism: The Art and Politics of Artificial Optimism. Princeton N.J.: Princeton University Press, 1.

  7. 7.

    Giacomo Balla, Le Vêtement Masculin Futuriste: Manifeste, Milan: Direction du mouvement futuriste (IS), 1914.

  8. 8.

    Judith Clark, ‘Looking Forward Historical Futurism’, in Radical Fashion, ed. Claire Wilcox, Victoria & Albert Publications, 2001, 14

  9. 9.

    Djurdja Bartlett, FashionEast: The Spectre That Haunted Socialism, Cambridge, Mass: MIT Press, 2010, 1.

  10. 10.

    Flavia Loscialpo, ‘Utopian Clothing: The Futurist and Constructivist Proposals in the Early 1920s’, Clothing Cultures 1 (1 October 2014): 229, https://doi.org/10.1386/cc.1.3.225_1.

  11. 11.

    Roland Barthes, The Fashion System, trans. Matthew Ward and Richard Howard, London: Cape, 1985, 235.

  12. 12.

    Loscialpo, ‘Utopian Clothing.’

  13. 13.

    Gerald Heard, Narcissus an Anatomy of Clothes (London: Kegan Paul, Trench, Trubner & Co Ltd, 1924.

  14. 14.

    Elizabeth Wilson, 2003, Adorned in Dreams: Fashion and Modernity, Rev. and updated ed. London: I. B. Tauris, 220.

  15. 15.

    Thomas More, 1901, Utopia. London: Cassell, 56

  16. 16.

    Bradley Quinn, 2002, Techno Fashion Oxford: Berg Publishers, 6.

  17. 17.

    Rudi Gernreich, 9 January 1970, ‘Fashion for the ’70s’, LIFE.

  18. 18.

    Noel Palomo-Lovinski, The World’s Most Influential Fashion Designers: Hidden Connections and Lasting Legacies of Fashion’s Iconic Creators, 1st edition New York, N.Y: B E S Pub Co, 2010, 126.

  19. 19.

    (On Anxiety, 2004 and Reification, 2002).

  20. 20.

    Michele A Schottenbauer et al., (1 January 2004) ‘Computers, Anxiety, and Gender: An Analysis of Reactions to the Y2K Computer Problem’, Computers in Human Behavior 20, no. 1: 67, https://doi.org/10.1016/S0747-5632(03)00044-X.

  21. 21.

    Ad Reinhardt. ‘Twelve Rules for a New Academy’, Art News 56, no. 3 (1957) 37–38.

  22. 22.

    Caroline Evans and Alessandra Vaccari, eds., Time in Fashion: Industrial, Antilinear and Uchronic Temporalities, London: Bloomsbury Visual Arts, 2020, 119.

  23. 23.

    Valerie Steele, ‘Letter from the Editor’, Fashion Theory 1, no. 1 (1997) 1–2, https://doi.org/10.2752/136270497779754589.

  24. 24.

    Arnold, Fashion, Desire and Anxiety, 85.

  25. 25.

    Walter Benjamin, The Arcades Project, ed. Howard Eiland and Kevin MacLaughlin, First Harvard University Press paperback edition Cambridge, Mass. and London: The Belknap Press of Harvard University Press, 2002, 62.

  26. 26.

    Barthes, The Fashion System, 288.

  27. 27.

    Bartlett, FashionEast: The Spectre That Haunted Socialism, 1.

  28. 28.

    Tim Radford, ‘The Time of Our Lives’, The Guardian, 12 June 1999, 43

  29. 29.

    Stefano Marzano, Vision of the Future, Fourth Edition, Philips, 1998.

  30. 30.

    Miller Freeman, ‘Future Perfect – Philips Vision of The Future,’ Electronics Times, 20 June 1996.

  31. 31.

    Joseph Gleasure, ‘An Expanded History of Levi’s ICD+ & Philips’ Wearable Electronics Program – Shell Zine,’ Shell Zine (blog), accessed 10 February 2022, https://shellzine.net/levis-icd/.

  32. 32.

    Arnold, Fashion, Desire and Anxiety, 27.

  33. 33.

    Andrew Bolton, The Supermodern Wardrobe, 1st edition, London: V&A Publications, 2002, 48.

  34. 34.

    Natasha Singer, ‘The Suit That Makes You Feel as Good as Prozac’, The New York Times, 11 June 2000. Sec 6, 72

  35. 35.

    Daniela Facchinato, 2012, Ideas from Massimo Osti, 01 edition, Bologna: Damiani.

  36. 36.

    More, Utopia.

  37. 37.

    Benjamin, The Arcades Project, 8.

  38. 38.

    Jonathan Faiers, ‘In Conversation – Lorenzo Osti and Moreno Ferrari’ (Ambika P3, London, 31 October 2019).

  39. 39.

    Ingrid Loschek, When Clothes Become Fashion: Design and Innovation Systems, English ed. Oxford and New York: Berg, 2009, 169.

  40. 40.

    Cristina Morozzi, Carlo Rivetti: C.P. Company – Stone Island Milano: Automobilia, 2001, 84–85.

  41. 41.

    Barthes, The Fashion System, 25.

  42. 42.

    Barthes, The Fashion System, 235.

  43. 43.

    Wilson, Adorned in Dreams, 220.

  44. 44.

    Michel Foucault, ‘Texts/Contexts: Of Other Spaces’, in Grasping the World, ed. Donald Preziosi and Claire Farago, 1st ed. Routledge, 2019, 371–79, https://doi.org/10.4324/9780429399671-24.

  45. 45.

    Henri Lefebvre, La révolution urbaine. Paris: Gallimard, 1970, 172.

  46. 46.

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  47. 47.

    Marc Auge, Non-Places: Introduction to an Anthropology of Supermodernity, trans. John Howe. London; New York: Verso Books, 1995.

  48. 48.

    Bolton, The Supermodern Wardrobe, 66.

  49. 49.

    Morozzi, Carlo Rivetti, 84.

  50. 50.

    C.P. Company, ‘Urban Protection Metropolis Jacket’ (1999), Westminster Menswear Archive, University of Westminster, https://ukdps.uwestminster-edit.tmp.accesstomemory.org/2016-181-1.

  51. 51.

    Lodovico Pignatti Moreno, ed., 2021, C.P. Company 971-021. An Informal History of Italian Sportswear Milan: Tristate International SA: 414.

  52. 52.

    C.P. Company, ‘Urban Protection LED Jacket’ (2001), Westminster Menswear Archive, University of Westminster.

  53. 53.

    Sara Ivry, ‘News Watch: Apparel; Rain or Shine, a Coat That Checks Air Quality’, The New York Times. 31 January 2002, Sec G, 3.

  54. 54.

    C.P. Company, ‘Urban Protection Atlas Jacket’ (1999), Westminster Menswear Archive, University of Westminster, https://access.westminster.arkivum.net/2018-86.

  55. 55.

    Robin Hard and H. J. Rose, The Routledge Handbook of Greek Mythology: Based on H.J. Rose’s ‘Handbook of Greek Mythology’ London and New York: Routledge, 2004, 271.

  56. 56.

    Jeff Koons, Jeff Koons, Versailles. (Paris: X. Barral, 2008), 111.

  57. 57.

    Jeff Koons, Aqualung, 1985, Bronze, 68.6 x 44.5 x 44.5 cm, 1985.; Jeff Koons, Snorkel Vest, 1985, Bronze, 53.3 x 45.7 x 15.2 cm, 1985.Jeff Koons, Lifeboat, 1985, Bronze, 30.5 x 203.2 x 152.4 cm.

  58. 58.

    Michael Archer, 2011, Jeff Koons: One Ball Total Equilibrium Tank, London: Afterall Books, 88.

  59. 59.

    Archer, 13–14.

  60. 60.

    C.P. Company, ‘Urban Protection R.E.M. Jacket’ (1999), Westminster Menswear Archive, University of Westminster.

  61. 61.

    ‘ICD-30 Voice Record Instructions’ (Sony, 2000).

  62. 62.

    C.P. Company, ‘Urban Protection Life Jacket’ (1999), Westminster Menswear Archive, University of Westminster, https://access.westminster.arkivum.net/2019-37.

  63. 63.

    C.P. Company, ‘Urban Protection YO Jacket’ (1999), Westminster Menswear Archive, University of Westminster, https://access.westminster.arkivum.net/2016-255-1.

  64. 64.

    C.P. Company, ‘Urban Protection Munch Jacket’ (2000), Westminster Menswear Archive, University of Westminster.

  65. 65.

    Grant David McCracken, Culture and Consumption New Approaches to the Symbolic Character of Consumer Goods and Activities Bloomington, Indiana: Indiana University Press, 1990, 113.

  66. 66.

    Edvard Munch, The Scream of Nature, 1893, Oil, tempera, pastel and crayon on cardboard, 1893.

  67. 67.

    Marc Auge, Non-Places: Introduction to an Anthropology of Supermodernity, trans. John Howe London; New York: Verso Books, 1995.

  68. 68.

    Sue Prideaux, Edvard Munch: Behind the Scream New Haven and London: Yale University Press, 2005, 151.

  69. 69.

    C.P. Company, ‘Urban Protection Move Jacket’ (2000), Westminster Menswear Archive, University of Westminster.

  70. 70.

    C.P. Company, ‘Urban Protection Rest Backpack’ (2000), Westminster Menswear Archive, University of Westminster.

  71. 71.

    C.P. Company, ‘Urban Protection Amaca Cape’ (2000), Westminster Menswear Archive, University of Westminster.

  72. 72.

    Morozzi, Carlo Rivetti, 87.

  73. 73.

    Lucy Orta, Refuge Wear – Mobile Survival Sac with Transformable Rucksack, 1996, Microporous polyester, PU coated polyamide, silkscreen print, transformable rucksack, zips, 210 x 90 cm, 1996.

  74. 74.

    Maria Cristina Tommasini. ‘Body Architectures, Survival Clothes’, Domus, March, 2000, 74.

  75. 75.

    Andrew Patrizio, Bradley Quinn, and Margaret Miller, Lucy Orta – Body Architecture, ed. Courtenay Smith and Lucy Orta, 1st edition: München: Silke Schreiber, 2003.

  76. 76.

    Patrizio, Quinn, and Miller, Lucy Orta – Body Architecture.

  77. 77.

    Bolton, The Supermodern Wardrobe, 19.

  78. 78.

    Moreno, C.P. Company 971-021. An Informal History of Italian Sportswear. 424

  79. 79.

    Andrew Groves and Danielle Sprecher, Invisible Men: An Anthology from the Westminster Menswear Archive, London: Westminster Menswear Archive, 2019.

  80. 80.

    Benjamin, The Arcades Project, 461.

  81. 81.

    Barthes, The Fashion System, 3–9.

  82. 82.

    Barthes, The Fashion System, 235.

  83. 83.

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  1. University of Westminster, London, UK

    Andrew Groves

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  1. Andrew Groves
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  1. Leeds Arts University, Leeds, UK

    Dawn Woolley

  2. Institute for Medical Humanities, Durham University, Durham, UK

    Fiona Johnstone

  3. School of Design, Northumbria University, Newcastle upon Tyne, UK

    Ellen Sampson

  4. Leeds Arts University, Leeds, UK

    Paula Chambers

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Groves, A. (2024). Palliative Prototypes or Therapeutic Functionality? Examining C.P. Company’s Urban Protection Range. In: Woolley, D., Johnstone, F., Sampson, E., Chambers, P. (eds) Wearable Objects and Curative Things. Palgrave Studies in Fashion and the Body. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-40017-9_7

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