MUYONGJAK 無用作

“moo-yong-jak”  /muː.jɔːŋ.dʒɑːk/


Mu無: No-thing
Yong用: Use
Jak作: Work





Do we "envision" wearing?
Is wearing comparable to practices
like writing, drawing, or design?


Our notions of wearing are directed towards the state of the garment already worn,
not the process of putting it on.


The process of wearing becomes something dim and, therefore, something we don't pay attention to. It is similar to how we don't think about the process of chewing food or how we enter a house.


But when we look at the gesture of wearing, we are able to capture the moments when

our body meets our clothes.

It's the whole movement of the garment and the body, and the gesture of wearing unfolds through

the meeting of the hand and the garment.

It extends from the hand to the rest of the body as

the garment gradually becomes part of the body and the body becomes part of the garment.


So, is it the clothes that become an externalisation
of the body
or
the body that becomes an
internalisation

of the clothes that we see through wearing?


The fact that there is no clear explanation to this question means that looking at the "look (in fashion terms)" is not enough to interpret the gesture of wearing, as it is the end of the gesture of wearing, the end of a series of interactive processes that start from the hand and follow the structure of the garment and the body.


In the end, we come to the conclusion that to understand the gesture of wearing;

we must acknowledge that it is an
individual
and
independent
act, different for each body, each garment, and a variable motion even within an independent individual (garment + body)
, and look at the flow of the actin performative context:

we must perform the gesture of wearing.