Shop windows, with their decorated stages and their idealised representations of the male and female social components, have long held a personal interest for me. Through the solid yet translucent 'fourth wall' we are able to intercept the constantly fluxing elemental icons of our society, and by them is highlighted an economic and political occurrence: the mutual informing of the living social group with its image. This concept is enhanced psychologically by the scientific existence of reflection in the shop glass windows, forming a double-layer of interpretative analysis.
This attempt however is deliberately ironic; fashion, as art-for-itself, is not explicable; fashion as art-in-itself is equally inexplicable. This documentary analysis thus demonstrates, on a nihilistic level, the base futility in constant birth-rebirth socio-political cycles. More positively, it displays humankind's ability to occupy itself in creative capacities to produce unique and expressive varied reproductions of itself that may not even flourish and which last for fleeting moments.
