I have a black dress that has just been hanging in my wardrobe for the past 8 years (at least). It never fails to remind me of a specific moment with a specific person. At some point the essence of the dress shifted from that of an object to the recollection of a feeling; I no longer see the dress when I look at it, I feel. Reflecting on my emotional connection to the dress I realised that I have not worn it a single time after the person left. However, there is absolutely nothing wrong with the dress. In fact, I have always been very fond of it, it fits me perfectly, and it has a timeless style. Out of all the dresses I have ever owned it is one of my favourites. Yet it continues to simply hang in my wardrobe but I could also never bring myself to part with it.
The Oxford Dictionary (www.oxforddictionaries.com, 2018) defines poetry as ‘literary work in which the expression of feelings and ideas is given intensity by the use of distinctive style and rhythm’ or ‘a quality of beauty and intensity of emotion regarded as characteristic of poems’.
Above is a poetic interpretation of the black dress. I was thinking about ways in which I could convey the feelings I associate the dress with, to someone else; how could I extract them to convey a memory of a moment in the past? Emotions are highly individual and our memories are never entirely objective, and therefore a purely analytical recollection of an affective connection would be nearly impossible and would probably fail to transport another person into your personal memory. However, by giving us a language with which we can create moments of emotion and empathy, poetry presents possibilities for expressing feelings and thoughts that are otherwise difficult to express due to their complex nature.
Clothing is not simply a material object. It is closely linked to the body and ultimately does not exist unless there is a body; clothing is always designed for the body – even when it is not intended to be worn. Clothing constructs a personal habitat (Abbot and Sapsford 2001 referencing Craik 1994), where the clothing and self become entangled with people and moments (Banim and Guy 2001). Banim and Guy (2001) have observed that sometimes the clothes themselves and the images they portray are much less important than the ways in which they represent a relationship with people who are (or have been) connected with the clothes.
Because of its close and intimate proximity to the body, clothing has the potential to carry deeper emotional meaning than many other objects. This becomes particularly apparent in the case of ‘a boyfriend’s T-shirt’ and the wardrobes of lost loved ones, as in the following quote, which illustrates the role of affective objects in our personal narratives and the intimate emotional connection to a lost loved one’s wardrobe.
‘…I have a recurring ritual as soon as I arrive at my parents’ home that helps me settle in and adjust to the Hungarian way of life faster. I open drawers and cupboards and examine their contents. I spend quite a bit of time looking through my father’s possessions, which are still the same and still as blue. When I stroke them or inhale their scent, I sense his presence: his smile, his slight stoop, his delicate hands. When I shut the wardrobe, his presence vanishes.’ (Medvedev 2007)
Dress shapes our identity and vice versa, we choose our clothing based on our present state, we hold on to clothing that is no longer being worn, and we wear or do not wear items because of what we associate them with. But exactly how much do the relationships we have to our clothes, as well as other people’s clothes, shape our narrative identities? And how can the affective connections in our wardrobes be used for self-reflective and therapeutic purposes? How do we extract the poetry that is lined along the seams of our clothing?
Abbot, P. and Sapsford, F. (2001) ‘Young Women and Their Wardrobes’, in Guy, A., Green, E, and Banim, M. (ed.) Through the Wardrobe: women’s relationships with their clothes. New York: Berg, pp. 21-37
Banim, M. and Guy, A. (2001) ‘Discontinued Selves: why do women keep clothes they no longer wear?’, in Guy, A., Green, E. and Banim, M. (ed.) Through the Wardrobe: women’s relationships with their clothes. New York: Berg, pp. 203-219
Medvedev, K. (2007) ‘Dress, Hungarian Socialism, and Resistance’, in Johnson, D. and Foster, H. (ed.) Dress Sense: emotional and sensory experiences of the body and clothes. Oxford: Berg