Is the way an artist dresses somehow a representation of their work, or do artists simply dress so they look, or feel, like artists?
The relationship between an artist’s work and attire should function in the manner of a dialectic, in which the discrepancy between the personal appearance of the artist and the appearance of her work is resolved into a higher conceptual unity. An artist’s attire should open her work to a wider range of interpretive possibilities. The artist’s sartorial choices are subject to the same hermeneutic operations as are his work. When dressing, an artist should imagine a five-paragraph review of his clothes – the attitudes and intentions they reveal, their topicality, their relationship to history, the extent to which they challenge or endorse, subvert or affirm dominant forms of fashion – written by a critic he detests.