Minimalism - the aesthetic that stems from the idea of “less is more”- has the contemporary world in a chokehold with its supposed emphasis on elegance, clarity, and functionality. Almost all aspects of modern life including fashion, design, architecture, art, technology, and cuisine are plagued by minimalistic tendencies. While the lean towards essentialism and neutrality may appear to be a mere lifestyle choice at the surface level, in actuality, the ‘minimalist mania’ is much more than a personal preference! Read on to know more about this literal and metaphorical whitewashing of ethnic identities.

The East has been known for its magnificent architecture, intricate designs, opulent embellishments, and lavish decor since times immemorial. Rich, vibrant colour palettes form an inseparable part of the cultural tapestry of this part of the world. Yet, the beauty of exquisite detailing is largely being replaced by monochromatic, simple elements of minimalism that claim to promote mindfulness, sustainability, and efficiency. Monotonous, colourless designs have taken over unique ethnic expression in the fields of fashion and architecture. Contemporary styles of art have become synonymous with ample negative space, clean lines, and neutral colours. Even if this phenomenon were to be dismissed simply as a fad, it is crucial to ask, “Who has the authority to dictate and regulate what is considered appropriate for the entire world?”

It is a foregone conclusion that powerful nations continue to exert control and dominance over weaker countries through indirect means including economic policies, diplomatic pressures, and cultural hegemony. In such a scenario, seemingly benign trends like minimalism serve as forms of neocolonialism, fostering cultural homogenization and ultimately cementing the dominance of the prevailing ethos, i.e., the culture of the colonizer.

Look around you. Urban landscapes all around the world have begun to look the same. Tall skyscrapers that lack personality serve as constant reminders of the postmodern age- streamlined, soulless, and minimalistic. In this era of consumerism, history and collective identity are mercilessly traded for simplicity and luxury. Colourful boxes of ethnic snacks and masalas now look plain and bland, neutrals dominate high fashion, and it is almost difficult to differentiate between ‘modern’ houses with their similarly done up interiors. Be it sleek electronic devices, light makeup, simple jewellery, pastel-coloured bridal attire, minimalistic food plating- we are constantly tending to Eurocentric standards of living, subconsciously letting go of our own rich cultural heritage.

Edward Said, in his influential essay “Introduction to Orientalism” talks about the Western Gaze and the systematic ‘Othering’ of the East. He writes, "The Orient was almost a European invention, and had been since antiquity a place of romance, exotic beings, haunting memories and landscapes, remarkable experiences. Indeed it can be argued that the major component in European culture is precisely what made that culture hegemonic both in and outside Europe: the idea of European identity as a superior one in comparison with all the non-European peoples and cultures.” According to Said, The Orient thus becomes “a living tableau of queerness.”

This association of the East with bizarreness manifests itself in various forms, including the aversion to vibrant hues and bold patterns, which are deemed tasteless and tawdry by European standards. David Batchelor argues, “In the West, since Antiquity, colour has been systematically marginalized, reviled, diminished, and degraded.” It is seen as “dangerous, superficial, and potentially contaminating,” while White- the colour of the colonizer- is symbolic of rational, clean, and controlled spaces. It is this very chromophobia that forms the core idea behind minimalism.

Adolf Loos, an Austrian architect known for his contributions to modern design theory, more or less introduced the concept of minimalism in the 1900s. In his essay “Ornament and Crime,” he proposes that ornaments are a remnant of primitive culture, and should be abandoned entirely in favour of clean, functional design. Suggesting that excessive ornamentation is detrimental to modern society, he advocates for a new aesthetic based on honesty, simplicity, and efficiency. His controversial and provocative beliefs align with the White man’s burden of civilizing the East, and further highlight the undeniable fascist origins of minimalism.

Even in India, the affluent sections of society constantly emulate the West, while simultaneously attempting to disassociate from working-class culture. Here, the colonial hangover translates into class superiority, making the preference for minimalism a symbol of opulence and social status. Dominant groups determine what is considered ‘classy’ or ‘tacky,’ leading to class-based self-judgement among the less privileged. Middle classes ultimately try to replicate the lifestyle of the rich, and ethnic expression is lost in the midst of this consumerist contest.

Conversely, in a reassuring turn of trends, designers are increasingly rebelling against the strict order and restrictions imposed by minimalism. Fabrizio Casiraghi, an Italian architect, is known for creating versatile spaces that combine Bohemian and aristocratic elements, aiming to redefine the concept of luxury. He asserts, “I think minimalism is fascism because it forces you to live in a very unnatural way. You’re a prisoner of the order you built to maintain the perfect shape of the home.” Maximalist trends embodying the principle of “less is boring” are gradually catching up in various fields like makeup, fashion, and interior designing. Bold prints and vibrant colour palettes are making their way back into the mainstream. The creation of such a counter-culture is a necessary and refreshing step towards challenging dominant narratives.

It is crucial to note that individual preferences for minimalism are completely valid and justified. However, personal experiences cannot be understood independently from political contexts. So, it is the undisputable fascist and imperialist roots of minimalism that render it problematic. When the Global South accepts Eurocentric standards of living and moreover places them on a pedestal, the superiority of the West is subconsciously reinforced. Less developed nations, out of self-devaluation, ultimately end up contributing to the systematic erasure of their own cultural identity.

Thus, it becomes extremely important to scrutinize and understand the rationale behind modern-day systems of micro-oppression such as minimalism before becoming prey to them. Embracing individuality and adopting authentic ways of self-expression are the sole means to resist subtle forms of domination.

In fact, why do we feel the need to willingly impose structure on our lives at all? Why do we limit our potential by conforming to fleeting aesthetics and trends? Nothing about the world is ordered, methodical, or organized. In an existence characterized by chaos, why must our ways of life be regimented and flawless?

.    .    .