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Two Types of Garishness (2)
by Chris Arning| London, UK
Thursday, 20 September 2012
tags: art & design, culture, emergence, europe, making sense, semiotics
This comparison of two types of garishness at London 2012 started with the official Russian Federation Olympic uniform by Bosco. Now let us turn to the delightful confection of the Team London Ambassador’s uniform. This has been described as looking like a cross between Percy the Pig and Butlins (classic British popular holiday camp) on acid. Ambassadors were London volunteers who greeted Olympic visitors.
Even Boris Johnson felt the need to apologize for the uniforms on their unveiling in 2011. 'It's quite striking, isn't it? I hope you don't feel too ridiculous. We need to overcome our natural British reserve and be a little bit more like the Australians!’ ‘Whoever designed it needs a prize. It's positive. It's optimistic.' As usual, Johnson’s facetious, bumbling obfuscation and bluff sophistry just managed to mollify critics.
Where I think even he went too far is when he proclaimed. 'It's in extremely good taste and style, and typical of London.' Er Boris, Mary Quant, Vivienne Westwood, Paul Smith, Oswald Boateng perhaps; M Solutions based in Enfield, not so much.
So to some sort of an analysis. Firstly the colour matches that chosen for the logo, pink and magenta, to match the visual identity of London 2012 chosen for venue décor, wayfinding signage, and used for the bunting festooning London. The 70,000 Games Makers volunteers manning the stadia and ferrying around the delegations wore purple and dark orange styled by Adidas. London Ambassadors uniforms in contrast were magenta and pink. So what does pink mean today? Well, as I wrote in a piece earlier in the year the colour pink is probably more freighted now with connotations than almost any other colour. In a vibrant, chromophile’s world it has come to mean: injunction to enjoy, to consume and the capitalistic progression. There is nothing to symbolize London on the uniforms, but pink could be construed as representative of Britain: signifying casualization of labour and moral permissiveness eroding the redoubtable empire red that used to characterize the UK.
As for the magenta, the other colour, Darius Monsef in his book Colour Inspiration writes of two stripes in a rainbow flag that “a magenta (pink) stripe at the top of the flag represents sexual attraction to one’s own sex… Lavender (purple) represents sexual attraction to both sexes”. Although the Ambassador’s uniform appeared in a different context the combination of ambiguous pink and coquettish magenta served to make these Ambassadors seem non-threatening, scripting them as jaunty helpers.
There was nowhere near as much attention to detail as in the Russian Federation uniform, which for all its apparent garishness was exquisitely patterned. The ambassador’s uniform, in contrast, was sloppily put together.
The criss-crossed lines sewn into the chest reflect the energy lines emblazoned on Olympic venues, podiums and medals. On the Ambassadors shirt, however, they are an ugly scrum of rectilinearity, dividing colours. They make the uniform look harlequinesque without any of the knavish charm of that aesthetic. The i badge information set in an awkward off set blotch standing on the breast again looks obscenely clumsy. The gratuituous looking badge on the left shoulder with the Team London lettering on it.
With so much criticism directed at budget overruns at the Olympics, the Mayor’s Office may have intended to produce a cheap and cheerful uniform to deflect criticism. In the event the visibility of the uniforms brightened up the streets and created a festive atmosphere. It has been reported by Visit Britain that some overseas visitors were put off coming to the UK by stereotypes about the English being stand-offish/unfriendly. Certainly the costumes would have served to combat these impressions by deliberately placing the London Ambassadors in a subordinate, entertainment function through the over the top uniform. This was a garishness designed to disarm and to charm.
© Chris Arning 2012
The third part of this analysis will contain summary conclusions and a methodological filtering of the two uniforms and their styles of garishness through Roman Jacobson’s communication functions model.