"Dirty Looks," the latest exhibition at London's Barbican Art Gallery, presents a provocative exploration of the concept of dirt in fashion. The show, which is on view through January 25, 2026, examines how dirty has become a shorthand for transgressing polished aesthetics and dismantling impeccable craftsmanship. By grouping together over 60 designers or design houses, the exhibition aims to illustrate the various ways in which dirt can be interpreted as a means of challenging societal norms.
The show opens with a striking display of two pairs of Wellington boots, one belonging to Kate Moss and the other to Queen Elizabeth II, symbolizing the juxtaposition between high and low culture. However, the mise-en-scène is somewhat let down by pale draped sheets serving as an unremarkable backdrop on the lower levels of the gallery.
The exhibition also features a range of garments that incorporate bodily fluids and organic matter, including Di Petsa's underwear with menstrual blood stains and Alice Potts' biocouture collection featuring human sweat transformed into crystals. These works serve as a commentary on the taboos surrounding bodily functions in fashion.
In addition to these aesthetic interpretations, the show also delves into the symbolic meaning of dirt as the burden of a wasteful industry, particularly one that is notoriously polluting. Some designers attempt to remix discarded clothes, while others repurpose and recycle objects into garments. However, many of these efforts result in dubious wearability.
The exhibition's most poetic and innovative contribution comes from Hussein Chalayan, who featured garments buried for months in his friend's London backyard 22 years ago. His work serves as a powerful commentary on the relationship between fashion, nature, and waste.
Ultimately, "Dirty Looks" is an exhibition that challenges viewers to reconsider their attitudes towards dirt and its role in fashion. By exploring the various ways in which dirt can be interpreted, the show offers a thought-provoking commentary on our society's values and norms. As one exits the gallery, the perfect soundtrack for the experience is Christina Aguilera's "Dirrty."
The show opens with a striking display of two pairs of Wellington boots, one belonging to Kate Moss and the other to Queen Elizabeth II, symbolizing the juxtaposition between high and low culture. However, the mise-en-scène is somewhat let down by pale draped sheets serving as an unremarkable backdrop on the lower levels of the gallery.
The exhibition also features a range of garments that incorporate bodily fluids and organic matter, including Di Petsa's underwear with menstrual blood stains and Alice Potts' biocouture collection featuring human sweat transformed into crystals. These works serve as a commentary on the taboos surrounding bodily functions in fashion.
In addition to these aesthetic interpretations, the show also delves into the symbolic meaning of dirt as the burden of a wasteful industry, particularly one that is notoriously polluting. Some designers attempt to remix discarded clothes, while others repurpose and recycle objects into garments. However, many of these efforts result in dubious wearability.
The exhibition's most poetic and innovative contribution comes from Hussein Chalayan, who featured garments buried for months in his friend's London backyard 22 years ago. His work serves as a powerful commentary on the relationship between fashion, nature, and waste.
Ultimately, "Dirty Looks" is an exhibition that challenges viewers to reconsider their attitudes towards dirt and its role in fashion. By exploring the various ways in which dirt can be interpreted, the show offers a thought-provoking commentary on our society's values and norms. As one exits the gallery, the perfect soundtrack for the experience is Christina Aguilera's "Dirrty."