If I haven’t been to hear the local symphony in a while, I sometimes forget about this.
In the 21st century, the tuxedo is still generally the costume of the classical musician. I don’t mean to beat on this fashion choice–though in most cases I’m not sure how much of a choice it really is–but seriously, Patrick Dempsey and George Clooney aside, who really carries this look with conviction these days?
But it’s an iconic trope, with as much expressive weight in a music performance as flannel or safety pins, and so maybe the field shouldn’t be quick to shirk it in those attempts to “attract a broader audience” that we hear so much about at conferences. After all, Esquire designed a nine-page layout around capturing classical music mojo as seen draped in Armani and such. Why ditch the branding?
The general argument against such formal wear, of course, is that it gives off the wrong vibe. It’s not like being suited up for a shift at Mickey D’s, but it can look as uncomfortable and as insincere. Also, it’s hard to cry, “No, no, you’re wrong! Orchestra performances are not formal, elitist affairs!” while wearing a cummerbund. But as John Stewart pointed out recently in reference to Barack Obama’s struggle with a (loosely related) issue, “Doesn’t elite mean good?”Â
When you’re dealing with a crew of 70-some musicians, the options are limited. Any kind of continuity in dress is going to get you some sort of stock feel, which conflicts with the  whole “creative performing artist” side of the equation. But for better and worse, classical = formal wear, there’s just no point in running from that. I mean, would you want to see the tuxes traded for the bolder images of, say, punk? Minding the gap doesn’t mean tripping into the ditch, just sayin’, and I’d hate to see the dry cleaning bill on that $4,000 suit.
I get the sense you’re playing devil’s advocate here? Maybe I’m wrong.
I agree that it’s tough not to avoid clothing coordination in an ensemble of 70 plus. But I’m not sure I see the point in continuing the black-tied classical affair. The tux is only one classical music’s numerous alienating factors (perhaps even more so is the concert hall), and maybe those conference-goers have a point. The tux at an orchestra show is very much a costume, as you write, but also a reinforcement of the high-brow society that inevitably surrounds art music and that many are trying to avoid in hopes of attracting more ears.
I don’t think the all black new music thing is any better, however. In consciously attempting to blend in with the background (and in coordinated fashion), all-blackers are making their goal an impossibility.
If you want to look good on stage, I’m all for it – it’s a performance, after all. But I’m not in favor of looking good in the exact same way that the other 69+ folks are doing so, and have been for centuries. If you don’t care, then truly don’t care – wear the first shirt you find in your drawer.
I see your point about going for it…but do you really not regard your blog as a venue for advocating for change (re orchestral programs, etc.)?
Orchestral performers as museum musicians raises some interesting questions about history, time, and identity (crisis)…
I’d be eager to read the itemized, NYT-magazine-esque prices/designers of this guy‘s conductor’s garb.
who are these proverbial average persons anyway? my guess is they are something like the folks i taught music appreciation to (or ‘one teaches music appreciation to’), especially since it was a required course at this particular institution. i never asked them how they felt about fashion, but it could be an interesting way to start a course… find out what they really think. maybe you could get some faculty to report back to you, molly. what are the stereotypes people take with them to concerts of less familiar music?
Orchestras are always coming up with shallow strategies to attract new “kinds” of audience members, but they can’t disguise their museum mentalities by dressing their musicians in jeans and t-shirts. It just ends up looking and feeling absurd.
Besides, no matter what kind of music you’re playing, or what venue you’re playing it in, it’s almost always a good idea to dress better than the audience.
I guess when I go as an audience member to a formal event like the symphony, I feel like I’m part of the museum, and it’s become increasingly uncomfortable, probably because I’m a composer attempting to contribute some new stuff. So, I’m going to continue to happily wear bright colored t-shirts (and yes, jeans, too, Corey) for my chamber music shows – but if I ever join an orchestra again, you’re right; I doubt I’ll be able to pull off the informalities.
The orchestral tradition of branding, as you put it, reiterated through pedagogy and public radio and any number of other means, seems a daunting force to change, but right now I’m still naively hoping one day it will. I guess the real question is whether it will change, or simply topple. Tuxedos and ancient concert houses have been symbols of this status quo for me, which is why I’m so into this discussion. I hope later posts here will address concert venues?
A fashion show would be splendid. In fact, I’ve already compiled a couple on my blog:
All Black
Big Hair
I also love Opera Chic’s frequent and often hilarious pics.
More photos will certainly be on their way as they appear.
Personally,I don’t care much about what an orchestra wears,as long as the musicians are
comfortable.The whole issue of concert dress is
a red herring.What really matters is that
the audience enjoys the music.I think it’s
awful that some people might avoid going to
orchestra concerts just because of formal
wear.And nobody complained when such great
Jazz musicians as Duke Ellington and Cab
Calloway dressed snazzily,so why should audiences do so today for classical concerts?
I’d be happy to see the tux go. Seriously, it looks to be very uncomfortable (and lethal on a slightly warm day). If a suit is really what everyone wants, somehow regular, non-formal attire seems perfectly fine (on those occasions when I’ve seen an orchestra choose those). And I’m actually OK with the all-black new music group equivalent, or a “house style” (e.g., black and red, or something else) as some groups have adopted. I like having the performers “dressed” but yes, the uniform could be reconsidered.
The tuxedo is definitely a holdover from the Victorian era and needs to go. It doesn’t have to be such an either/or proposition though where you either where a tux or jeans and t-shirt. Why not a dark sport coat and trousers with a nice button-down shirt? Or something Banana Republic, reasonably uniform but not identical? In other words, just look nice but ditch the cumberbun and bow tie. Like it or not, tuxes are part of the reason people think classical music is stodgy and for old people.