Dirty Looks: Desire and Decay in Fashion – Barbican, London

Walking through Dirty Looks is an experience of constant surprise, occasional beauty, and frequent wit. Collected here is a history, spanning a little over 40 years, of work inspired by “dirt”, which is largely interpreted in a more literal sense: the effects of the organic on clothes, but is sometimes interpreted as waste, damage, or in a social sense.

Some of the history falls flat, particularly Vivienne Westwood’s collection of work inspired by cowboys and outlaws, which surely at one point resonated with the theme of dirt, but currently feels like it just resonates with a camp style of Western nostalgia. As such, it lacks the intended social critique that threatens to provide an interesting investigation of why the elite covet the muckiness of those they view as lower class.

In contrast to this work, there is an exciting interplay of 1990s, 2000s, and contemporary work that is equal parts witty (Miguel Adrover, John Galliano for Christian Dior, Maison Margiela), powerful (Hussein Chalayan), and unexpected (particularly IAMISIGO’s use of plastic). Dirty Looks is also beautiful in moments, despite the raw and off-putting materials and methods at play. Comme des Garçons stars early on with a bridal moment, S.R. Studio LA. CA.’s use of staining could make a block-colour zealot fall in love with patterns, and Yuima Nakazato (one of the final rooms of the exhibition) provides hope for the future by incorporating recycling technology without compromising design vision.

Where the exhibition lacks balance is in its use of light. While the story of these clothes is largely chronological, this results in a duller start, followed by several pieces late on, which reflect light in invigorating ways. These are welcome as they bring an energy to the story of the exhibition that is lacking earlier: particularly Hodakova’s use of spoons, Andrew Groves’s use of razors, and Alice Potts’ contemporary work with crystals grown from sweat. Some much-needed sensory vibrancy is provided by Ma Ke’s introduction of smell and IAMISIGO’s unnerving use of sound.

Unfortunately, not all extra-sartorial interventions resonate. There are occasional reminders of why these artists primarily work in a visual and tactile form and not a linguistic one. Where language is used with artistic intent, it is somehow both pretentious and vapid. There are moments in this exhibition where the average attendee will feel pushed away by what they see, and while challenging these sensibilities is largely valuable, some pieces will really only be of interest to the cutting-edge fashion students of Central Saint Martins. This perception is not helped by the messy ordering of information plaques, the need to constantly refer to the programme for specific information on materials and processes, and the need to find unique angles to view pieces that are obscured behind others.

However, the most accessible part of Dirty Looks is also perhaps the highlight: hearing John Galliano speak plainly but passionately with the Maison Margiela team about how to make cuts that will achieve the wet look in their 2020 collection. Dirty Looks is at its best here, where it is accessible, on theme, and portraying a left-field beauty.

Runs until 25 Jan 2026