The concept of travel is often inextricably linked to the tangible: meticulously packed suitcases, carefully chosen outfits, and the physical accoutrements that accompany our journeys. But what if we were to strip away these material necessities, venturing into a new environment unburdened by the weight of possessions? This proposition, an exploration of ephemerality and the performative nature of clothing, formed the basis of my recent sojourn to Seattle, an experience I termed “The Empty Suitcase Show.” This endeavor, promising a shift in perspective and piquing curiosity about the interplay between identity and materiality, involved arriving in Seattle with a completely empty suitcase, relying entirely on the city’s resources for sartorial sustenance.

The genesis of this project stemmed from a fascination with the performative aspect of clothing in urban environments. We often curate our attire to project specific identities, to navigate social landscapes, and to communicate unspoken messages. By eliminating this preparatory process, I sought to examine the extent to which our sense of self is contingent upon material possessions and the constructed narratives that clothing facilitates.

Upon arriving at Seattle-Tacoma International Airport, the stark emptiness of my suitcase served as a tangible reminder of the project’s unconventional nature. The initial phase involved navigating the city’s retail landscape, seeking out secondhand clothing stores and vintage boutiques. This process, a departure from the convenience of pre-planned outfits, required a heightened awareness of my surroundings and a willingness to embrace spontaneity.

The selection of clothing became a performative act in itself. Each garment, chosen for its aesthetic appeal and its potential to contribute to a cohesive narrative, was imbued with a heightened sense of significance. The act of acquiring clothing transformed from a routine task into a deliberate exploration of identity and self-presentation.

Seattle, with its diverse and eclectic fashion scene, provided an ideal backdrop for this experiment. From the bohemian charm of Fremont to the upscale boutiques of downtown, the city offered a rich tapestry of sartorial possibilities. The process of assembling a wardrobe from the city’s resources was a journey of discovery, revealing the hidden narratives embedded within each garment.

The performative aspect of “The Empty Suitcase Show” extended beyond the mere acquisition of clothing. It involved consciously engaging with the city’s social spaces, observing the reactions of others, and reflecting on the ways in which clothing shapes our interactions. The absence of familiar garments created a sense of vulnerability, prompting a deeper awareness of the subtle cues and unspoken messages that clothing communicates.

The project also highlighted the ephemeral nature of material possessions. In a society often defined by consumerism, the act of arriving with an empty suitcase served as a poignant reminder of the transient nature of material goods. Clothing, while playing a significant role in our lives, is ultimately a temporary construct, subject to the vagaries of fashion and the passage of time.

Furthermore, this experiment allowed for a deeper connection with the city itself. By relying on Seattle’s resources for sartorial sustenance, I became intimately acquainted with its retail landscape, its diverse neighborhoods, and its unique cultural identity. The process of navigating the city’s secondhand stores and vintage boutiques offered a glimpse into the hidden histories and personal narratives embedded within each garment.

The project also served as a reflection on the concept of “authenticity.” In a world saturated with carefully curated online personas and meticulously planned social media feeds, the act of arriving with an empty suitcase challenged the notion of a fixed and immutable identity. By embracing spontaneity and improvisation, I sought to explore the fluidity and malleability of self-presentation.

The “Empty Suitcase Show” was not merely a performative art project; it was an exercise in mindfulness, a meditation on the relationship between identity and materiality. It was an exploration of the ways in which clothing shapes our perceptions of ourselves and others.

In conclusion, my journey to Seattle with an empty suitcase was a transformative experience, offering a unique perspective on the performative nature of clothing and the ephemeral nature of material possessions. It was a reminder that identity is not solely defined by the garments we wear, but by the experiences we embrace and the narratives we construct. This experiment sought to deconstruct the familiar, and reconstruct a new experience of travel and urban exploration.

References:

• Entwistle, J. (2015). The fashioned body: Fashion, dress and modern social theory. John Wiley & Sons.
• Crane, D. (2000). Fashion and its social agendas: Class, gender, and identity in clothing. University of Chicago Press.
• Barnard, M. (2013). Fashion as communication. Routledge.