He Fa on Katharine Hamnett

Two lines of black text on a paper-white long T-shirt point toward thinking in public. A red round pocket appears on one side, and a hem shorter in front than behind makes the garment more than a flat placard. The look develops from the recognition afforded by large-letter clothing associated with Katharine Hamnett; its actual wording and cut are new arrangements here, and cannot be retroactively attributed to the original figure. Writing thought on the chest works effectively: it immediately announces a stance of participation. But words become visible far faster than judgments form. After reading a few words, others may already assign openness, seriousness or courage to the wearer, though he has not explained what he is thinking, why, or which consequences he is prepared to bear.

I do not therefore want to dismiss all slogans as empty. A short phrase can open a conversation, giving someone previously without a place to speak an opportunity to be asked. What needs examining is what follows: once someone stops, am I willing to develop my account, can I accept revision, or do I only want acknowledgment that the garment expresses the right direction?

The red pocket makes me think of a smaller public sphere. It is less loud than the black words, but is a place where things can be put in and taken out. If I imagine it as a collecting place, I am willing to hold differing views there temporarily, rather than rush to print every opinion as my next slogan. Public thinking also needs containers and time; it cannot remain forever at the front best suited to photographs.

So I keep the large letters on the chest and let the slits still allow bodily movement. Public expression can happen before a complete answer, but should not turn itself into a certificate requiring no further explanation. When someone truly responds, I hope to step out from behind the clothes and attach a perhaps less tidy stretch of thought to those words already read.