Before the advent of sewing machines, clothing was predominantly made by hand. Yet, with the tremendous time and effort invested, the people who wore them often prioritized showcasing their attire for a limited period rather than preserving it for future generations. That being so, the culture where clothing was frequently replaced and fashion being more disposable was observed among the nobility before the French Revolution (1789-1799).
Even more extreme was that the nobility resorted to using flour to create powdered wigs during bread shortage. The combination of silk garments and the flour, were particularly susceptible to moth infestations. Consequently, their garments often fell victim to moth damage.
“During and after the 19th century, when the Paris Exposition was all the rage, only some of the clothes were handmade; they made the rest with machines in factories. I think they were already overproducing back then, or else we wouldn’t have these items of clothing today. By deconstructing the clothes, I could see that they pursued making decorative clothing for glamor, more than durability,” explained Akira Hasegawa, a clothing specimen curator.
“The noteworthy thing about deconstructing clothes is how you get to discover that the insides are handsewn, but the outside is machinery-made. I think that was their way of showing off that they were using innovative sewing machines.”
“The first garment I deconstructed was a French firefighter uniform from the early 1900s that I came across during my student days. At that time, I was learning how to make bespoke clothes, and I wanted to see the inside of old clothes and how people sewed them. Looking back, I might have started doing this because I wanted to know why I got moved by the clothes. I think deconstruction is a way of self-discovery. Instead of looking for something that would touch me, I try to keep this mentality where I am always open to feeling such emotions.”
Hasegawa graduated from the Bunka Fashion College, where esteemed designers like Yohji Yamamoto, Junya Watanabe, and Takahashi Jun were also alumni. He specialized in French tailoring and has been dedicated to the art of pattern making. “I am particularly interested in the history of Western clothing before World War I (1914-1918). I am not interested in clothing after that period, because the structure of clothing became closer to modern times. To date, I have deconstructed more than 50 antique clothes!”
“The internal structure is usually invisible to the naked eye, but it is the root of beauty. Comfort is also invisible, but when you wear it, you will be amazed at what you discover!”
Hasegawa provides an example to illustrate his point: the 18th-century men’s suits offered a 360-degree freedom of arm movement, whereas the late 19th-century women’s capes were intentionally designed to restrict movement. It is only when one tries to put their arms through the sleeves that the true extent of the tightness or restriction becomes evident.
The secret of beauty lies behind the scenes. Knowing the internal structure will change the way you look at paintings, movies, stages, and art.
“There is a structural beauty to dynamic clothes that are made to feel comfortable. This beauty remains hidden unless you deconstruct clothes by turning it over, disassembling it, and studying it.”
The biggest difference lies in the armhole. For the nobility, the armhole was smaller because their clothes were worn for attending dances, horse-riding, and hunting. The armhole had to fit perfectly with the body so that the wearer could move with ease. It is similar to wearing a head-to-toe wetsuit, just that the nobility would need a servant to help them put the clothes on. On the other hand, the clothes worn by commoners had larger armholes, similar to modern ready-to-wear clothing that most people can wear, but they lack the comfort and elegance of the former.
“You can’t tell what it feels like to wear these clothes by seeing them in a museum. That’s why I invited people to my exhibition, Demi-Deconstruction, to experience them firsthand and let their whole body immerse in emotions.”
After deconstructing antique clothings, Hasegawa not only creates replicas using similar materials and techniques but also shares his experience through pattern-making and online tutorials. He also welcomes beginners with a sense of curiosity to participate in his cloth sculpture workshop, where they can personally recreate shapes from 200 years ago using their own hands.
“I don’t want to create more clothes in a world already filled with clothing. I want to encourage and foster people’s creativity. I want consumers to know that they have the option of making their own clothes, and that they can make their own historical garments. I also want them to realize that historical clothing is not just something to be admired or collected, but something beautiful that can be worn even today.”
