TRAPPN#124: Mark Leckey’s “Fiorucci Made Me Hardcore”
“While obviously celebratory, Fiorucci is ultimately concerned with a collective loss of innocence; its subtext, an examination of the ritualistic behavior of heterosexuals on the threshold of adulthood. Leckey’s young–ostensibly male–protagonists exist in the tungsten glare of the moment, blissfully unaware of (their) culture’s inevitable passing…”
As one musical genre succeeds the next, so too are fashions consigned to the dustbin of history. Fiorucci revels in its detail: At one point an authoritarian voice-over intones a list of the once-prized sportswear brands favored by Britain’s “casuals” (those elite tribes of mid-’80s football hooligans): Ellesse, Cerrutti, Sergio Tacchini, Lacoste, Fila, Kappa, Jordache, Fiorucci, each specific to a particular time and a particular team’s supporters. Periodically a shadowy figure appears onscreen, disturbing the narrative flow. A surrogate for the artist, he watches over the rooftops of a twilit cityscape much as Balzac’s artist-flaneur might have viewed the Parisian boulevards.” – Matthew Higgs
Mark Leckey’s Fiorucci Made Me Hardcore (1998)
A found-footage video collage project that showcases images from the bygone U.K. dance scenes from the 70s, 80s, and 90s, this work positions “scenes” in general as fantastic (and intrinsic) attempts by youth to find a place in a human structure. A self-professed artistic autodidact, Leckey’s output is in line with other unpretentious anti-establishment art mavens who have dismissed critical theory (Higgs has suggested that he thinks Guy Debord would have been [ashamedly] fond of Leckey’s work). Fiorucci Made Me Hardcore was Leckey’s reemergence piece; he had not created art since a 1990 show at the ICA alongside a then-unknown Damien Hirst.