Paris Fashion Week Spring Summer 2019

In a word, the Spring 2019 Paris collections were reflective; serving no shortage of food for thought to the table. Whereas last season shouted for a call to action, proactively taking charge in empowering those with unheard voices (e.g the applauded Undercover collection which featured politically engaged high school teens), this season took a more reactive stance in light of current events. Designers responded to today’s political challenges in an, albeit quieter, more intense approach.  Notably, Rick Owens erected a lit pyre in the centre of the Palais de Tokyo where condemned witches were burned at the stake; an (in)direct MeToo collection featuring torch-bearing models who wore deconstructed denims and apocalyptic silk fringed mini skirts. The stripes of a charred American flag were also featured on various tops and a floor length billowing gown.Rei Kawakubo also unveiled a deeply emotional presentation at Comme Des Garçons which spoke to the “beneath the surface” psychological challenges females face; whether those be doubts of not being good/pretty/smart enough, pressures of a ticking clock, limitations of anatomy, compromising being a boss (at the risk of sounding too “bossy”), the choice of career versus carer.

This was translated through the raw padded bellies poking out from sliced open, glistening black suits- a reference to Kawakubo birthing not children, but instead a multi-million dollar empire. Chains also constricted the body underneath logo-printed second skin dresses. The chains continued to dangle from limp sleeves and past the hem, dragging onto snow white sneakers. Did she escape from her prison? Or are the chains the metaphorical constrictions a woman must deal with? While reflecting on her own journey, the collection resonated with many women whose hidden, heavy shackles are now seeing the light.Another example of a collection stepping back hitting a reflective tone was Christian Dior. Opposed to last season which was inspired by the student protests of 1968, this season Maria Grazia Chiuri focused on the art of ballet. The collection was painted by a whisper of muted colour - nudes, blush, dusty rose- and was poetic simplicity. Focus was placed on the quiet beauty of the human body and its natural curves. The uncomplicated aesthetic allows the wearer to place attention on herself and bask in a moment of tranquility. In a world of too much noise - is it not refreshing to simplify?

The hushed tones of the pieces however failed to leave a major impact due to the theatrical presentation which was accompanied by a conceptual dance piece, choreographed by Sharon Eyal. Eyal and the eight dancers delighted, but similar to the previous Dior Resort collection featuring horse riding escaramuzas, the theatrics of the fashion show outshone the clothing. It was almost that the models were getting in the way of the performance.The theatrics at Balenciaga also risked eclipsing the collection. The show blew all experience marketing endeavours to shreds as 2000 square meters of video screens aligned a digital tunnel. Here models walked on projections of psychedelic colour constellations. Fluid, neon hypnotic shapes melted into one another through a collaboration with Montreal-based artist Jon Rafman. The gargantuan show provided the setting for an equally gargantuan collection. Creative Director Demna Gsvalia, who is credited for logo mania hype and sock shoes proved his expertise in draping and innovative tailoring which would even make the maison’s founder proud. Gsvalia aspires to bring back structured elegance to the street through “neo-tailoring”. Through his technique, suits are ripened with oversized shoulders. 80s revival? NO! Here, is a fresh futuristic silhouette launched for the future.

Other fashion titans also continued to up the ante when it comes to show production. Chanel took us to the beach (well a beach was transported within the Grand Palais; sand, waves and all), Saint Laurent presenting on top a shallow water-covered runway under the lights of the Eiffel Tower, and Gucci opting out of Milan to show in Paris at the legendary nightclub Le Palace. Even with a spectacular location and the legendary Jane Birkin singing “Baby alone in Babylon”, the dazzling bells and whistles didn’t distract from the question of haven’t we seen all of this magpie geek chic glory before? Alessandro Michele is a visionary and since 2015 has successfully revived Gucci as one of the world’s leading fashion brands - it will be exciting to see him continue to push his boundaries further.However, maybe contemporary design is about developing a singular language and relentlessly sticking to those codes.

Through thick and thin - through Dior Homme, Saint Laurent and now… Celine (Céline).Of course I am referring to the polarising Hedi Slimane, who continues to be the talk of the town,  having launched his first collection as Creative Director for Celine. Slimane obliterated the once go-to brand for professional executive women, completely replacing it with his already tried and tested designs of black suits and micro-mini skirts, popularised in the early 2000s. It is unfortunate (?) presenting in the shadow of the Kavanaugh hearings but the full removal of previous creative director Phoebe Philo’s established working-woman codes reads troublesome. Not to mention these codes are now substituted by dazed youth, debauchery, drugs, sex, and rock and roll ect…Knots in our stomachs were also felt at Thom Browne who, although celebrated in blending the beautiful and the terrifying, sent models down the runway wearing Friday the 13th–style face masks, juxtaposing the couture-worthy gowns. It was not the masks which spooked. It was the fact that the models were gagged and bound - arms tightly strapped onto the torso and would thus be unable to brace a fall in sky-high heels. With it being a beach inspired collection, models were surely intended to look as if they’ve been washed ashore in fisherman’s nets, however the perceived message here was tone deaf considering the current climate of silencing women.

Being one year on from Me Too, the question holds - How do women wish to be perceived? There is a place for sexiness (e.g Jacquemus), but generally speaking there is an overwhelming movement towards modest, unfussy, not silly, let’s get down to business clothes. Clothing with a discreet sense of power with no shame in being feminine - a woman’s power suit does not need to be a masculine cut, as demonstrated by Stella McCartney and at Clare Waight Keller’s Givenchy.Despite a strong wave of genderless dressing (e.g Maison Margiela and Louis Vuitton), women don’t need to adopt masculine qualities or dress like a man to break the glass ceiling or be heard. There is power in femininity. The breathtaking beauty of dramatic, voluminous gowns at Valentino. The hypnotic concoction of rich colour, texture and pattern at Dries Van Noten. The protective armour of chain mail laced with Chantilly lace at Paco Rabane.Upon reflection, one of the most apparent trends of the Paris collections was “dressing up” - a reaction to an overly saturated, often sloppy, streetwear aesthetic.

The new season demands sharp tailoring, putting on a tie, and couture-eque details where an effort to “clean up nicely” is respected. We are living in an ugly moment in history - where victims have somehow become villains; where evidence becomes inconvenient; where hard facts are cast away as simply subjective. It’s time for the people - like you and me- to suit up and be the adults in the room, in contrast to the worse than childish characteristics of many so called leaders. Chaotic times call for decency, order and a sense of precision… cue the laser-cut double-breasted Haider Ackermann jacket.

From Fashion #Ad to a Post-Ad World

This season of September issues was exceptionally fierce, sending an important long overdue message for increased diversity at fashion’s forefront; most notably Beyoncè featured on the cover of American Vogue, shot by Tyler Mitchell, the first ever black photographer to shoot a Vogue cover. The relevance of a September issue is that it sets forward the moment’s dominant trends - culturally and sartorially- for the upcoming months, inspiring a myriad of consumers to turn to a fresh page and approach a new season with the confidence to define or perhaps evento reinvent oneself. It therefore is no surprise that September issues typically outweigh (literally) other issues due to the sheer volume of material, most of which, being advertising campaignsfound at the start of a magazine to persuade or influence the audience in some form.

Judith Williamson (1993) has called advertising campaigns as “one of the most important cultural factors moulding and reflecting our life today” and can be seen collectively as a “privileged discourse for the circulation of messages and social cues about the interplay between persons and objects” (Leiss, Kline, and Jhally, 1990).Having read my fair share of September 2018 issues cover to cover, there are several defining fashion advertising directions which have ultimately triggered the question of have we actually evolved into a Post-Ad world? The Ad as Entertainment Fashion films show no sign of slowing down, with today’s most renowned photographers such as Nick Knight or Sølve Sundsbo really pushing ground in this medium. For this season, it was Steven Meisel who captured the Givenchy moment at a bustling club (maybe Berghain in Berlin?) inviting the audience to partake on a crowded, darkened, glitzy dance floor through a cinematic lens. Also, Jil Sander publicised on Instagram a surreal 3 minute film by Wim and Donata Wenders, composed of repeating scenarios where the protagonists wear different looks from the Jil Sander autumn 2018 collection. Film excerpts were featured in print.

The Ad as Engagement Arguably one of the best “Ads” of the season would be from JW Anderson who earlier this year, held an open call for young photographers to partake in its Your Picture / Our Future initiative. Participants were asked to submit examples of their own work, with competition winners invited to shoot the AW18 campaign. After over 2,000 entries, Julie Greve, Simons Finnerty and Yelena Beletskaya were ultimately crowned the winners. Working together with Anderson, each young photographer was given an edit of the women’s and menswear collections, in order to bring their unique perspectives to the project.

The Ad as Editorial The most striking observation regarding this season’s fashion ads would be the blurred integration from commercial campaigns to creative editorials. Most obvious: the cover of American Vanity Fair September 2018 featuring the actress Michelle Williams against a blank maroon backdrop. Williams is an official ambassador to Louis Vuitton, and therefore appears in a variety of their own ad campaigns and typically wears the luxury brand on magazine shoots, as seen here. The shtick of the matter is that the cover is shot also by Louis Vuitton’s current campaign photographer Collier Schorr. So - the cover of Vanity Fair features 1) Louis Vuitton full look 2) Louis Vuitton brand Ambassador and 3) shot by Louis Vuitton Campaign Photographer. If it walks like a duck…Publications continue to blur the lines between commercial and editorial content however this cover may have just erased those lines completely. A Louis Vuitton spokesperson has labelled the brand-cover incident “a happy coincidence” speaking to the NYTimes, however a just as jovial coincidence has now been spotted on the freshly released October issue cover for Vogue China. The cover features Chris Lee wearing a Gucci dress and shot by Gucci muse, model andGucci campaign photographer Petra Collins.

Should we as consumers and aficionados of fashion be worried about this increased intersection between church and state?Sure there is the argument that we are losing creative integrity and the unique point of view ofindividual publications. But on the flip side, with the tidal wave of imagery - campaign, editorial, etcetera…- we are exposed to every day, is not everything essentially an #Ad?As brands increase in power, they do lend a voice to remarkable individuals such as a Collier Schorr who was one of the few photographers in fashion to speak out against Harvey Weinstein or a Petra Collins who is redefining the female photographer’s “girl gaze”. We are moving away from Ad’s in the traditional, dictating sense and moving to composed messages which span across all mediums, which inspire and entertain, and which directly engage with consumers and rising talent.Always look on the bright side, eh?

Home(ware) is Where the Heart is

And as she clicked her sparkling ruby-red heels together three times, Dorothy recited blissfully “There’s no place like home”; a heartwarming sentiment applicable to those of us in and outside of Oz. It is equally regarded as a prophetic statement in terms of the newfound interest of luxury fashion brands investing heavily into the highly profitable homeware opportunity. Of course the bond between fashion and homeware is nothing novel, with brands such as Ralph Lauren Home (1983), Fendi Casa (1989), and Versace Home (1992) having already established a foothold - however there is renewed interest in the diversification of fashion, especially with the consumer’s holistic focus on “lifestyle”. Last month, luxury e-tailer Matches Fashion introduced a homeware selection, offering a broad range of furnishings and decor from established traditional fashion brands including Peter Piloto, Preen by Thornton Bregazzi, Calvin Klein, Loewe, Maison Margiela and La Double J amongst others. Matches also offers a series of enamel Espresso cups and saucers born from an exclusive collaboration with artist Luke Edward Hall. The collaboration is a successful tried and tested strategy by other e-tailers who are also actively expanding into homeware. Most notably, Italian e-tailor Luisa Via Roma has collaborated with Matteo Cibic and Marcantonio Raimondi Malerba, while Moda Operandi has introduced a highly popular tabletop homeware collection produced with Cabana Magazine editor-in-chief Martina Mondadori Sartogo.Looking specifically at brands, Gucci continues to make headlines, in this particular case by having recently launched its Décor collection which includes candles, folding metal tables, armchairs, a vanity set and even wallpaper. The “must have” items are surely the Gucci- motif embroidered pillows, similar to the cushions we were first introduced to at the Cruise 2017 show at Westminster Abbey. The designs showcase extraordinary prints of fantastical flora, tigers, snakes and other mystical references deeply ingrained in the prominent Gucci vocabulary. The move by Gucci to tap into the homeware space makes perfect sense, as creative director Alessandro Michele has not only delivered a high caliber of seasonal clothing collections, but he has conjured an entire magical world, seducing us all to want to take part in this velvety, extravagant lifestyle. Another extremely influential creative director tapping into homeware projects is none other than Virgil Abloh - creative director of Louis Vuitton menswear and Off-White- who has recently produced a much hyped collection with Swedish furnishing powerhouse IKEA. The collection, which will be available for purchase in 2020, includes a series of self-referential rugs in Abloh’s established aesthetic and defining “AIRQUOTES”, as well as more complex pieces such as a Markerad chair with red wedges supporting the legs (although industry watchdog Diet Prada has called out the piece for being a copy of the iconic mid-century Paul McCobb design). Here, “high fashion” is made available to the mass market; a welcome gesture democratising zeitgeist design. The decision for fashion brands to expand into new categories is all but groundbreaking, however the rate in doing so does appear to be escalating in hopes to woo potential customers and drive sales. Although fragrance and cosmetics remain the biggest revenue drivers, the homewares segment is growing quickly with Euromonitor International expecting sales to grow 2.3 percent per year between 2017 and 2022, while Allied Market Research forecasts homeware to reach $27 billion by 2020, reinforcing a very attractive opportunity for growth.Style seeps into all areas of one’s life and chosen environment- clothing is only one singular piece of the puzzle and (the leading) fashion brands appreciate this- especially due to our preference for “experience” over goods. I say (or hope…) that the notion of style (something of longevity) has overshadowed “fashion” (something rapidly changing) and it is a 360* experience based on aesthetics, touch, smell, and sound, equaling a total sum of personal taste; thus interiors are of course the natural extension of personal style. The savvy luxury consumer buys into the dream - a dream which aligns with her own aspirations, desires, and taste and offers suggestions for the life which she pursues. Especially through a platform like Instagram which has skyrocketed our consciousness of actively building up our “ideal” lifestyle, there is no question that more luxury houses will continue to move into interiors, especially decor and home accessories. Living, breathing, feeling - as well as wearing- style are key to future growth and for the sake of fashion - make home where your heart (and your Gucci pillow) is! 

Resort 2019: Back to the Roots

Since the presentation of resort collections first catapulted into the mainstream fashion system a little over 10 years ago, they have evolved into becoming something of an arms race with brands fiercely competing on who can stage the grandest fashion spectacle in ideally the most exotic location. Therefore, it came as a surprise when it was announced that the most influential french maisons - including Chanel, Dior, and Louis Vuitton- chose to keep their presentations local. Was keeping local in France a natural response to global uncertainty? Or perhaps a clear signal of confidence in President Emmanuel Macron and the direction he is leading France?

Last October Macron threw a celebratory reception for French fashion designers at the Elysée Palace declaring his own support for the industry which may have inspired the decision.Even Gucci, the Italian powerhouse, chose to present in the Southern French town of Arles, staging a haunting spectacleupon an Ancient Roman burial ground. Its confidence in France was underlined by the decision to uproot from Milan and present its Spring 2019 collection instead in Paris this coming September. Although not straying afar geographically, the shows were still presented in extravagant measure: Chanel at the Parisian Grand Palais which featured a massive 300 foot ocean liner named La Pausa, Louis Vuitton at the Fondation Maeght in St. Paul-de-Venceat, Dior at the hippodrome of Chantilly. By all means, these experiences were not quaint, but they did lend a sense of authenticity rooted in their own tradition.

This tradition was best when combined with other cultural influences such as Maria Grazia Chiuri for Dior drawing upon Latin American heritage. Kicking off the Dior presentation, was a fearless team of eight Mexican escaramuzas riding sidesaddle on horseback in lightening speed, weaving in and out throughout the entirety of the venue - the pulse of the audience escalating along with the accompanying rock music. What was to follow was a cautious yet beautiful collection based on fine equestrian tradition from both Latin American and European roots. The fusion of natural cotton lace, unassuming frills, and delicate embroidery lent an overall earthy and folkloric aesthetic. For me, the show-stopping element of the collection was featured primarily on dresses; the heavy use of toile de Jouy - a favourite of Chiuri - featuring tigers and bears, giraffes and monkeys and a plethora of other creatures invited to a magical jungle scene. Dior typically represents dresses to dream about, but when worn with rubber combat boots to stomp though the mud, they become very grounded. Tempting earthly delights.

Although some argue that the trend is dead, various themes emerged, supporting preceding collections of Spring and Autumn 2018. Firstly, there continues to be the shift towards gender fluidity, most explicitly championed by Alessandro Michele for Gucci. Here, English checked tweeds, heavy velvets, flamboyant pattern, flared groovy pantsuits, and glitzy retro based accessories suited everyone in equal measure. Secondly, fashion’s love affair with the 1980’s continues where for Louis Vuitton, Nicholas Ghesquière offered oversized silhouettes, a tangy mix of artificial colours, excessive pattern and a healthy dose of hand-painted acid-washed denim. He presented one of his best collections yet balancing architectural structure with the lightness of youthful spontaneity, exhibited for example in a cropped shirt dress slashed at the midriff in a provocative shade of punchy pink. The colour shares the same rebellious freshness as millennial pink, but rather than confused or idyllic it connotes assertion and confidence. Spotted on the major runways, the colour played a leading role in the Chanel collection which benefited from the lively hue.

The colour was also seen lighting up the Prada collection, which pulsed a strong minimalist undercurrent foreshadowing a return of less is more.Overall, resort collections continue to excel by quenching the consumer’s search for luxury experiences. At their worst, they capture marketing at its finest, at best, they bring a brand to life, transcending material boundaries to something more lasting and poetic. Trends have blended together and so have the seasons, with Pre-Fall collections now designed for a range of climates and the everyday, opposed to only catering for that sun-soaked “resort” holiday as they were originally intended. Now there are additional capsule collections such as Chanel’s newly launched Coco Beach and Coco Neige, filling the gap for specific performance and occasion wear. And so it goes, each year seeing more collections, more product.Is it escalating our desire or dilutingoverall meaning?

Milan Fashion Week: AW18

Elizabeth Cady Stanton once said “The best protection any woman can have… is courage.” Designers have a responsibility especially in the climate of #MeToo, in representing strong female figures and offering collections which indeed trigger confidence and courage. Protection of oneself or others, whether male or female, young or old, seems to be the red thread linking together this season’s global fashion weeks.

The point was made most obvious at Milan Fashion Week which kicked off with a captivating presentation by ultimate outdoor brand Moncler and it’s innovative Genius Project. Moncler has taken advantage of the fashion industry’s rapidly changing environment - adapting to the fastening pace of consumer demand offering a range of bespoke, one-off capsule collections dropping periodically throughout 2018. The inaugural presentation included 8 cutting-edge collaborations with some of today’s most inventive creatives. Moncler puffer jackets were reinterpreted by the heightened romanticism of Pierpaolo Piccioli, utilitarian abstraction of Craig Green, and Victorian femininity of Simone Rocha - why not face sub-zero temperatures in style? The project is cutting ties to the restrictive nature of traditional fashion weeks and bringing a convincing alternative to the table.

Another brand which lent protection included Jil Sander, where designers Lucie and Luke Meier chose to focus on a range of tender fabrics and cocoon-like silhouettes. In place of handbags, models carried duvets, or alternatively wrapped them around the shoulders or cinched them tightly around the waist, catering to our need to feel comforted.

Capturing the moment of unsettling macro-environmental developments, a range of collections translated these feelings into the presentations themselves, often into a troubling sci-fi dystopian setting. A meaningful example was the disturbing mise-en-scene at Gucci set in a creepy suite of operating theatres. Fashion’s favourite magus, Alessandro Michele’s explained the metaphor in how people today consciously “operate” on their identities in real life (IRL) or on digital platforms inspired by a mix of Hollywood, Instagram, and brands such as Gucci. “We are the Dr. Frankenstein of our lives,” said Michele. “There’s a clinical clarity about what I am doing. I was thinking of a space that represents the creative act. I wanted to represent the lab I have in my head. It’s physical work, like a surgeon’s.”

Also at Prada the atmosphere suggested troubling times ahead. The setting was surreal and unnatural, with a black-mirrored floor, blinding neon signs attached to heavy plate glass windows - a hovering drone recording the show and audience reactions from the outside in. Big Brother is watching you. The collection was made of an intelligent mix of intriguing contrasts, whether that be a combination of hefty workwear with delicate tulle, romantic cocktail dresses with unforgiving corporate ID cards, digital prints with humble tweeds and knitwear (welcome reminders of a simpler age). Many looks were paired with clunky rubber boots with protective nylon drawstring leg-coverings. Were we protecting ourselves from the rain? Or something lethal which escaped from a top-secret lab, similar to the one in the Shape of Water? I felt this collection successfully married science and art, highlighting through blinding fluorescent colour the sour taste of artificiality and man’s never-ending assault on nature. Like all great art, the collection sparked food for thought and presented an image of a courageous woman who doesn’t have to rely on strong-shouldered blazers to come across as powerful.

With presentations getting more innovative in the hope to generate more buzz, shares, and likes (hopefully leading to an eventual sale), various brands focused on unusual accessories. Various Gucci models glided through the operating rooms holding replicas of their own heads, which has led to the #guccichallenge already trending on Social media. Is today’s fashion intentionally designed for maximum “likes” and e-word of mouth or is social media popularity a welcome byproduct of autonomous creative brilliance? The Tod’s presentation also trended, not due to pet dragons or severed heads in hand, but with the most adorable puppies propped onto the arms of supermodels including Gigi and Bella Hadid. Cuteness overload. Smiles flooded across the audience as these little guys made their runway debuts. A gesture of course to the Chinese “Year of the Dog” however dogs are surely not accessories and should not be seen in the same context as a new handbag or burnt orange leather boots. While yes, Tod’s is known for its accessories, the pups distracted from a rather dull collection.

While London was crowned with the presence of HM The Queen attending NEWGEN recipient Richard Quinn, Milan was linked with the institution of the Vatican due to the launch of the exhibition: “Heavenly Bodies: Fashion and the Catholic Imagination”. For this year’s highly anticipated exhibition at the Metropolitan Museum of Art in New York, the Vatican, Versace, and Vogue are joining forces to show off the Catholic influences in fashion. The exhibition, which opens May 10, will present some of the Vatican’s most precious treasures from the Sistine Chapel sacristy -  exhibited for the first time outside the Vatican.

“Some might consider fashion to be an unfitting or unseemly medium by which to engage with ideas about the sacred or the divine,” says curator Andrew Bolton. “But dress is central to any discussion about religion. It affirms religious allegiances and, by extension, it asserts religious differences.” Also, Cardinal Gianfranco Ravasi, the Vatican’s culture minister, added that clothing oneself is both a material necessity and a deeply symbolic act that was even recorded in the biblical story of Adam and Eve. “God himself was concerned with dressing his creatures,” Ravasi said. Also translated into this season’s Dolce and Gabbana’s opulent collection, religion remained a central topic.

In times of chaos, we are left searching for answers often from higher powers from above. We look for direction, for centrality and grounding. As we continue to proactively protect our bodies, minds, and souls, Milan’s collections offered a range of intriguing solutions; often otherworldly, catering to our direct needs and desires through cultural ingenuity.

(Fashion) as Therapy: A Balancing Act

What The Times has called, “one of the most intellectually exciting books I have read this year” and Gwyneth Paltrow as “ a gem of a book”, Art as Therapy (2013) by Alain de Botton and John Armstrong enlighten the reader with a fresh understanding to appreciating great art. As art has the capability to “manage the tensions and confusions of modern life,” the authors argue that instead of viewing art as mere investments or fleeting bursts of creativity, art adds to our wellbeing. Art is a necessary tool performing seven value-adding functions: Remembering, hope, sorrow, rebalancing, self-understanding, growth, and appreciation.

The function of fashion, however, as suggested by Allen J. Scott (2000), is to act as personal ornaments, modes of social display, forms of entertainment and distraction, or sources of information and self-awareness, i.e. as artifacts whose symbolic value to the consumer is high relative to their practical purposes. However, I believe this definition fails to do the field of fashion any justice, as, like art, fashion (should) address(es) the intrinsic internal search for wellbeing.

Whilst reading about the current state of the art world, I couldn’t help but draw connections to today’s fast-paced fashion industry and its message (often) advocating material, disposable excess and building constant desire for the new. Of course while the debate of “is fashion art?” continues with bows drawn on both sides, there is indeed a direct parallel with the practice of buying art and buying high-end fashion through the use of respective personal art dealers and personal shoppers.

“The task of the private gallery is a serious one: to connect purchasers with the art they need. The chief still required for running a gallery should, therefore, be not salesmanship, but the ability to diagnose what is missing from the inner life of the client.” (de Botton and Armstrong, 2013; p.75)

By translating the context from art to fashion, it should be the responsibility for personal shoppers to connect clients with fashion that satisfies a personal psyche need. By detecting what it is a client is missing in their inner life, the shopper has the potential to act as a therapist, linking clients with designers who would satisfy that need and provide an act of rebalancing. Shoppers should realise what parts of the psyche are vulnerable to deliver a “product” including an enhanced quality of life. For example, if one client is an incredibly busy global manager, working from 12 hour days, rushing from meeting to meeting, continent to continent, without a moment of peace - a Gucci maximalist arts and crafts print with excess sequin may prove to be particularly upsetting  for her, despite it being “on trend”. Instead, the calming silhouettes and palette offered at The Row or Celine may be more applicable. And vice versa.

Fashion wellbeing should not be an extra service but should be advocated at all levels of the industry. This would place style over fashion and prioritise long-term design over short-term “click bait” trends. We should shift from a culture of buying based on FOMO and the fear of being on the “outside” to satisfying our internal needs. I agree that like art, fashion should act more as a remedy. What a wonderful thing it would be if our wardrobes would evolve with us throughout our lives, reflecting not only the design zeitgeist but also our own life stories and emotional experiences. Clothes have the power to not only act as a representation of ourselves but also a healing mechanism - an arena holding true potential yet not fully explored.

The Return of Logomania

No matter if in form or font, the logo captures the essence of every fashion brand and possess incredible influence. Do you remember the outrage when Hedi Slimane dropped the Yves from Yves Saint Laurent (“Ain't Laurent without Yves”)? And the frenzy when Saint Laurent’s new creative director Anthony Vaccarello resurrected the YSL logo in form of a stiletto heel? In only a short matter of time, the iconic brand’s perception was altered 360*.

It was Andy Warhol in the 1960s who first observed the ubiquity of logo branding with his Campbell’s Soup and Coca-Cola screen prints. Then, since the 1980s, logos of global luxury brands were appropriated first by hip-hop (e.g Dapper Dan) and then again by the luxury market, simultaneously deconstructed further by the art world. Arguably it was the Kenzo sweatshirt which opened the floodgates to logomania, thanks to its tongue in cheek messaging. In its origin, luxury fashion logos were classified as sincere marketing efforts, seducing hungry consumers for an opportunity to belong to a world of “champagne kisses and caviar dreams”.

However, at its pinnacle, the sweet taste of the logo began to sour, starting to represent excessive consumerism and tackiness. The repetitive splashing of logos across all our bags and butts (Can we ever forget the “Juicy” track-pant?) initiated a high-brow backlash. This backlash, which also happened to coincide with the 2008 recession, triggered a trend towards, minimalism, “normcore” and modesty. With an economy in collapse, the need to show off was of poor taste.

But here we are in 2017 and the logo is back with a capital B as like all elements in a cyclical industry like fashion you have ebbs and flows.

Since Alessandro Michele brought back the intertwining double G belt in 2015 for Gucci, the unashamed logo has enjoyed a renaissance. When only considering the most recent Spring 2018 collections, the logo is covering everything from Dior to Versace, Oscar de la Renta to Alexander Wang.

But really, why is the luxury logo making a comeback this season?

 

To answer, we have to consider both the consumer and the business point of view.

On the demand side, we first see this rise in nostalgia, specifically for the 1980s - Stranger Things, synthpop music, shoulder pads… Speaking to the Financial Times, Dana Thomas, author of the book Deluxe: How Luxury Lost Its Lustre states “Young creators, in music as well as in fashion, are turning to the 1980s for inspiration and that was the period when logo mania first hit hard . . . The new take on logos is more romantic, softer, and even humorous – it has all been filtered through the haze of time. We’re all a bit more jaded, a bit more wise. We bought into marketing then; we mock it today.”

Secondly, the impact of digital cannot be understated. The domination of Instagram demands logos to be bold and garish, in order to attract eyeballs to individual posts. Brands are forced to create an image of being shareable and recognisable in order to successfully take part in the digital dialogue. Also, due to digital democracy, consumers are using logos to justify their self-worth: “No, this bag is not from Zara - it’s Dior… See?”

Thirdly, identity has become again very important in our society. It matters who you “identify as”, who you follow, what you like, what brand of cereal you buy. The logo becomes a stamp of approval and an entrance ticket for a particular sub-culture of choice e.g Supreme. Finally, opposite to a recession, we are living in a booming global economy, encouraging a mantra of more is more.

On the supply side, logos are a fabulous way to boost brand identity but must be strong enough to stick in the consumer’s mind. Also, logos allow brands to redefine themselves. When for example, a new creative director is appointed, brands often rebrand their image to take on a new direction. Recently we observed this at Calvin Klein and Balenciaga, where both houses edited their once iconic typefaces.

Additionally, when in a saturated market with hundreds of micro-brands popping up daily, it is imperative to showcase a clear visual defining who you are.

“Logos mean so much from a visual perspective and recently they have really presented a paradigm shift at high fashion labels, becoming an increasingly hyped focus point for each collection, it’s a logomania that we haven’t seen to such a degree since the 90s catwalks,” states WGSN’s Hannah Watkins, Senior Editor of Prints and Graphics.

Ultimately, logos today play a vital role, because thanks to digital platforms like Snapchat or Instagram, we exist in an extremely visual time. Trends come and go, but in an age where image is everything, I don’t see logomania shying away anytime soon.

Milan Fashion Week SS18 : Solace Found in the (Fabulous) Familiar

Like London and New York, Milan SS18 soaked us all with a wave of optimism, making way for upbeat and joyful collections. Vibrant colour, overwhelming sequence, sporadic plumage all played seminal roles in lifting next season into an emotional high. Bright colours have been proven to psychologically improve our mood for the better. Case and point: I don't know how anyone could hide a smile from Missoni’s glorious rainbow knitwear! Most notably riding on this surge of excess hues, included Marco De Vincenzo who dedicating his collection to his roots in Sicily, Bottega Veneta which (known for its image of “stealth wealth”) surprisingly was flooded with blingage, and, who I considered the star of the Millan collections, Francesco Risso at Marni who after a shaky start at the creative helm last season, truly impressed in delivering ingenuity and wearability.

Also never shying away from a colourful sensation is Alessandro Michele’s Gucci with a collection of over a whopping 100 looks. While grand in its melange of cultural references and homage to 1980s kitch, was this collection anything different than what we have seen in previous years? Michele truly disrupted Milan with his newfound vision of Gucci in 2015however with each new season, is it all becoming the same narrative and dare I say, predictable? Is a brand’s set unwavering image now everything or do progressive clothes still count? Also, continuing with unchanging narratives was Dolce and Gabbana and Prada who although presented expertly executed pieced, too seemed predictable.

The antithesis of the runway kaleidoscope was the debut collection by Luke and Lucy Meier for Jil Sander. The mostly monochromatic scheme served as a refreshing palate cleanser compared to other shows and injected soul to notoriously sterile minimalism. The collection was varied in style, poetic in taste and served as a worthwhile starting point for the influential brand’s new chapter.

However, the absolute “Fashion Moment” of Milan - heck fashion moment of the season-was Donatella Versace’s tribute to her late brother Gianni, who was tragically killed 20 years ago. The collection paid respect to Gianni’s genius (yes, genius is appropriate in this context) by translating some of his finest work into modern day wear. Fascinating how some pieces - the Trésor de la Mer collection, the Vogue dresses, the Butterfly collection, the Native American feathers, the black and gold baroque prints - now almost 30 years old - seem just as relevant today. This is not a collection to be judged on but to be appreciated - Paying respect to a legend and a different time in fashion. Most obvious in making this point was the supermodel finale featuring Claudia, Naomi, Cindy, Carla, and Helena - strong women with personality. When compared to the often wafer thin, expressionless teenage girls who teetered down the runway before them it showed a drastic difference how the industry changed. From intimate, independent, emotional to disposable, impersonal, and filtered. Of course, that is a much too generalised and gloomy statement but I do think it is fair to state fashion has changed into more replaceable and immediate, attracting a range of consequences.

Overall, there is naturally comfort in doing what we know and it seemed therefore that this is what Milan was emphasising by playing its greatest hits - postmodern counterintuitivism at Prada, magpie maximalism at Gucci, millennial madness at Dolce and Gabbana. But in comparison to what we saw in London and New York, where there is this unprecedented energy to give more chances to younger new talent, this was missing in Milan. Opportunities for the new generation was one of the priorities to the late Franca Sozzani and it would be great for this to play more of a factor in Milan’s future.

Hip Hop's Fashion Conquest

Music and fashion have always gone hand in hand with one another. Both arts draw upon each other for inspiration, separately reflecting messages and culture often born from the same inspiration. Live music can become truly iconic through fashion, adding visual significance to a performance: [insert Elton John, Jimi Hendrix, the Rolling Stones, KISS, the Sex Pistols , Madonna in her Gaultier Cone bra]. Same goes for fashion. Runway shows today blast music (often remixed by industry veterans such as Michel Gaubert) turning this season’s collections into theatrical spectacles. I’ll even go out on a limb here and say one can’t survive without the other (?)

Recently, there has been no music genre with more impact on fashion than hip-hop. Flick through any Vogue magazine and you see today’s biggest rap stars posing in advertisements for the most affluent brands: A$AP Rocky for Dior Hommes (LOEWE, Calvin Klein, Alexander Wang), Pharell Williams for Chanel, Kanye West for Balmain, Travis Scott for Saint Laurent, Anderson Paak for Fendi.

Hip- hop has conquered the ivory tower of luxury fashion.

While today hip hop lends youthful artistry to leading fashion brands, the urban music scene was once at the receiving end of turned up noses and quiet rejection. For example, Burberry was described as “unhappy” with being featured in the 2001 “Always on Time” video by Ja Rule. The brand was in the midst of an identity crisis being associated with British “Chavs” and probably did not want to reinforce an image of being worn on the street or in “the hood”.

So how did Hip- Hop rise to the top of the fashion ladder? As by no means an expert on hip hop, I would say it is down to three key factors: shifting perceptions and influence of hip hop, vast audience potential, and key innovators.

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Hip- Hop began in the 1970’s as an underground urban movement from the South Bronx in New York city. It revolved around the effect of legal institutions on minorities such as actions take by police. Poem-like lyrics and bumpin’ beats became a medium for expression, representing African American youth by African American youth. The music was emotionally powerful and over the years shifted from a local context to the suburbs and afterwards grew into a mainstream genre with incredible influence on all races, ages, and genders.

Within many of hip-hop’s songs, the crux revolves around - as Jay Z writes - “Came from the bottom the bottom, to the “Top of the Pops”. Hip hop reflects the achieved or desired excess capitalism offers - no other music genre is as supportive of material goods, whether that be rapping about luxury cars, popping bottles of champagne, or dripping ice (referring to diamonds). This repetitive narrative of the super rich is for most not relatable, however it serves as inspiration for many envisioning a better future, offering hope. Moreover, this source of aspiration provides a sense of escapism. Both rap and fashion offer an escape from the complex reality of life.  Maybe you can’t afford taking a cruise in a Bugatti, but you can be part of that world - just press play and put on some swanky jeans.

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So rap appeals to both ends of the audience: those who look up and aspire a luxurious lifestyle as well as the few living that lifestyle and are inspired to copy. A music genre that appeals to an audience from all walks of life. Makes a pretty convincing marketing strategy no?

While hip-hop is arguably seeing the most innovation with sound in recent times, its success within fashion is also thanks to some key innovators.

First and foremost, there is Daniel “Dapper Dan” who in 1982 opened his infamous boutique on 125th Street in New York’s Harlem. The boutique offered outrageous pieces often plastered with fake monogram logos from luxury brands including Louis Vuitton, Gucci and Versace. To little surprise, the brands were less than satisfied and ended up suing the store. While Dapper Dan was ultimately raided and shut down, it directly linked the escapism of fashion with hip-hop and opened the doors for big brands to make most of this opportunity.

It was American label Tommy Hilfiger who first really embraced taping into Hip-hop culture. Hilfiger met the gap of people looking for an aspirational label, representing an affluent lifestyle.  In the early 1990s, the rapper Grand Puba started name-dropping Tommy Hilfiger in his songs and wore his clothes on album covers. Hilfiger reacted positively and went on to feature Aaliyah and Usher in advertising campaigns.

Rap artists who strengthened the rap- fashion link include Puff Daddy, Jay Z, Pharell Williams and of course Kanye West, who even went on to become a credible designer and fashion collaborator having created the ever coveted “Yeezy” sneaker.

With every passing season, each new collaboration, every flowering street label the gap between hip-hop and fashion shrinks even more. With high fashion becoming more and more high fashion street wear (think tracksuits, sweatshirts and trainers aka the athleisure phenomenon) the conquest of prêt a porter by hip hop has been made. 

As regarded with this season’s AW17 Marc Jacobs collection and most recently Gucci’s resort collection featuring Dapper Dan, who cares about trickle down? High fashion today is born from trickle up…

“Started from the bottom now we're here.”

Is the Editor the New Creative Director?

This week, although slightly overshadowed by Gucci’s viral meme campaigns, an interesting phenomena has been circulating various press outlets including the Business of Fashion and New York Times. The emerging phenomena revolves around the current business shake up strategy at Helmut Lang. Move over see now buy now,  the next business trend affecting the future of fashion is the editor as the new creative director?

As designers have evolved from couturier to designer to creative director, it is only natural the head of creative would evolve into something new. With today’s world of "content is king", it comes to almost no surprise that classic maisons and fashion brands are pivoting to become media houses. (It says something that Gucci is becoming a meme-generator)

Helmut Lang the contemporary Austrian designer who defined the aesthetic of the 90’s is owned by Fast Retailing which includes Theory and Uniqlo to its group portfolio. Andrew Rosen, chief executive of Theory and of Helmut Lang, has appointed Isabella Burley, editor of the British youth culture magazine Dazed & Confused, to the newly added position of “editor in residence” opposed to a more traditional appointment of a creative director or  artistic director to lead the brand’s creativity.

Ms. Burley will be responsible in the image of Helmut Lang crafting digital content and advertising, bringing unity to the brand's identity, supervising the in-house design team, and by working alongside external creatives for “special projects”. The first of such projects will be a collaboration with Shayne Oliver, founder of Hood by Air which will result in a men’s and women’s collection presented September 2017 and available for purchase in November.

Speaking to Vanessa Friedman, Rosen explains “Creative directors come and go” referring to the continuous act of musical chairs we see in luxury fashion with designers picked up and placed from one house to another. An editor’s eye encourages more flexibility and an integrated curation which can be understood better by the target audience. Ms. Burley understands the expectations and demands of her readers. She understands who millennials are, what they like thus making her incredibly valuable to the strategy of Helmut Lang who wants to crack the code in pleasing this demographic. Although she will act as editor in residence, Ms. Burley will continue to stay in  London and at Dazed, visiting New York once a month to check in on the Helmut Lang team.

This poses the question of the confusion when blurring the lines between media and design. What about the contradicting stakeholders and interests? 

However, from a brand’s point of view it seems to be a promising strategy: Better know your audience, creating and integrating exceptional poignant content across platforms and create a curated point of view exemplified this season from the work of Love Magazine editor and chief Katie Grand’s work at Marc Jacobs and Miu-Miu. 2 examples of bringing a print magazine to life.

Most importantly, Mr. Rosen is able to work with a collective group of creatives merging design and editorial together - working with all and attached to none thus making business sense.

Milan Fashion Week SS17

However, below the surface of the cobbled streets, innovation and youth is bubbling and is sure to surface with a Bang!!!! (Lucio Vanotti and Arthur Arbesser are ones to watch!)

Like everything in fashion and the standard business cycle you have your standard booms and your troughs, your peaks and lows, your classic pattern of ups and downs as hypnotising as the waves of the sea and as steady as the changing of seasons. Repetitive? Yes! But filled with opportunity to adapt to the dynamic present to create a better future. Vogue Italia and Camera della Moda have invested in Italian talent for tomorrow and are brining fresh air into the Milanese fashion capital. Milan, once considered a dormant beauty has undergone a beautiful awakening, partially responsible is Alesandro Michele and the excitement he has brought to Gucci. AW2014 was a legendary season for Milan, but today almost 2 years later is unsurprisingly stagnant with a lack of new ideas. However, below the surface of the cobbled streets, innovation and youth is bubbling and is sure to surface with a Bang!!!! (Lucio Vanotti and Arthur Arbesser are ones to watch!) An investment in talent is the only way to reach long term benefits in a creative context.

Repetition is a buzzword for Milan SS17 with a Bold, Underlined, All-Caps emphasis on house codes and heritage storytelling.

Repetition is a buzzword for Milan SS17 with a Bold, Underlined, All-Caps emphasis on house codes and heritage storytelling. Comfortable at best. Stale at worst. In terms of brand building, enforcing house codes and heritage is vital when positioning effectively in the mind of the consumer and is for the very best a core competency promising a degree of stability in a volatile climate. Leaning too heavily on the shoulder of the past however is a risk itself and can inhibit creativity by transforming the “same old” to the “same old” with new bows and tassels. A styling exercise may prove fun and quirky, as we saw with Dolce and Gabbana, but underlines the major tectonic shift from fashion show for business purposes to the fashion show for entertainments sake. There’s no business like show business right?

Speaking of “for entertainments sake” - this gives me the opportunity to address the infamous round table discussion by Vogue editors on the blogger. The spiciest phrase includes: “Note to bloggers who change head-to-toe, paid-to-wear outfits every hour: Please stop. Find another business. You are heralding the death of style” said by Sally Singer. Bazinga. 

Andy Warhol’s prophecy of “in the future everyone will have their 15 minutes of fame” has come true with the issue being that it devalues the actual purpose of the shows into a mad circus of ME! ME! ME!

Having only been part of the fashion circus myself for the past 2 years, I can only compare what I see today with the accounts of others who have been in the industry for more than a quarter of a century. Lots has changed. And one of those major changes is the purpose for attending the fashion show. Ever since the 1970’s, a Ready to Wear fashion show predominantly allowed spectators to critique, order and exchange information between industry members thus legitimising a brand’s offering. Essentially it has been a B2B event but this has more and more shifted to a spectacle, filled with a glamorous Front Row (‘Frow’) in order to gain more press through sites such as the Daily Mail. Still this has to do with business.

The discrepancy though which has happened through social media is the tempting offer that everyone has a chance to be a star through street style photography. The more eccentric the better. Andy Warhol’s prophecy of “in the future everyone will have their 15 minutes of fame” has come true with the issue being that it devalues the actual purpose of the shows into a mad circus of ME! ME! ME! opposed to moving forward as a collective industry into an unraveling future.

I don’t believe the Vogue Editors were referring to professional bloggers who earn their bread and butter from such events — as many industry players do! I think they were referring to the (at least what I have noticed) thousands of people running around looking to gain social capita and legitimise their positions and following on Instagram by “being there”. Sarah Mower stated it is “pathetic for these girls…desperate[ly] troll[ing] up and down outside shows”.

I too would agree. I would preach the more successful route into the industry is spending some good ole fashion time in the library learning about fashion references, terminology, designers, photographers, and mastering a skill such as writing, designing, photography, drawing, filming… whatever your passion may be. Only renowned for being paid for over the top eccentric dressing for the sake of being photographed is incredibly cheapening to the self and to the industry. Just one gal’s opinion.

Gucci Resort 2017

I believe that one of the key reasons for Alessandro Michele’s success at Gucci is not only because of the glorious creations he sends down the runway or the way the body rejoices when draped in sartorial elegance, but it is that which is not seen - the spirit he celebrates and reflects upon us all. You can feel the powerful emotion behind his collections where this Gucci resort 2017 collection was no exception: A Love Poem to London, sealed, signed, and delivered by a romantic Italian Anglophile.

What we saw yesterday at Westminster Abbey was the most genuine compliment one could give to this country’s rich history.

In my previous article I called out the lack of authenticity of this year’s resort collections, with branding sadly overshadowing the collections, but what we saw yesterday at Westminster Abbey was the most genuine compliment one could give to this country’s rich history from kings and queens and spoiled King Charles Spaniels to Mods, Yobs, and everything in between - with respect and truth.

Every possible connotation of Britishness was referred to, symbolised, and embellished. Let’s just refer to a few key designs: Tartan - a là posh and punk, Arts and Crafts patterns doing good ole William Morris proud, The union jack printed on a chunky knit and on Patrick Cox loafers, embroidered animal motifs - ALL HAIL THE CAT! Punk and Anarchy referring to Vivienne Westwood and the Sex Pistols, and the red thread holding it all together? The concept of more is more - the new Gucci signature and also the sort of  antithesis to fashion.

 Why do you need to dispose of something you love each season? Something which is part of your story?

Instead of see, buy, wear, throw away (a model popular with fast fashion), Gucci is embracing the fact that you should love your clothes. Why do you need to dispose of something you love each season? Something which is part of your story? The brilliance of Michele is he builds and layers and adds continuously, where maximalism trumps all and original accessories (old and new) make the (wo)man. This is the new direction of fashion and he is leading the way with vintage pieces breathing out new life.

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My favourite concept of this unique show were the characters which were portrayed - most in real street style. Some could be photographed by Phil Oh in Camden wearing Paul Simonon’s splatter-bleached jeans, Rainbow creepers, and luxe T- shirts, while others would be Tut-tutting along in  Kensington wearing chic trenches, refined blazers and dress suits fit for the Queen (yes she is the ultimate style icon). Each character was so thought through where no matter where you looked, you couldn't help but wonder what their story was!

Oh wow - is that a suffragette?!

Look! There is Steven Hawking Cambridge years! There is a yob who stole the coat of a solider at changing of a guard! There is a rather sinister looking Alex DeLarge in a plaid suit! There is a flashback to a Sepia filtered coming out party from the 1970s! Here we have a aristocratic pre-Raphaelite! Over there is an Edwardian beauty in porcelain blue and white! There we have a go-go girl swinging into the 60s! Oh wow - is that a suffragette?!

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Everything was so incredibly poetic and you could tell by the smiles on everyones face, all perched on their own embroidered pillow, that this was a Moment. The question is however how long can this last? The issue with dedicating yourself one aesthetic so religiously can be a blessing and a curse… but there’s no need to worry now! Not when oversized floppy hats are on the table. Duh!

Bravo! Bellissimo! Gorgeous etc. Standing Ovation.

(If there is one thing out of the thousands of messages to take away from this show, it is that an Italian has proved how England is very much part of Europe in terms of aesthetic, history, and values. We cannot deny that. #Remain)