Fashion Drive: Extreme Clothes in the Visual Arts 

Since the blockbuster Alexander McQueen retrospective stunned audiences at the Metropolitan Museum of Art in 2011, the significance of fashion exhibitions has risen exponentially. Simply taking a local example, London’s Victoria and Albert Museum is currently showing two fashion centred exhibitions including “Fashioned by Nature” which focuses on materials and sources of fashion as well as “Frida Khalo: Making Herself Up” showcasing a selection of Khalo’s most intimate personal belongings. Although the age old debate continues of is fashion art - this discourse needs to be put to rest. While both are cut from the same influential cloth communicating visual culture, I tend to agree with the words of Roland Mouret who expressed at a previous Frieze Academy talk that fashion, differentiates from art because it is something we actually use. Fashion provides a surface level service - No less valuable but indeed different.Having recently visited Zurich, a cultural city in its own right being the birthplace of the Dada movement as well as the current headquarter of Vetements, it was essential to stop by the Kunsthaus, currently undergoing a full renovation, led by David Chipperfield. Among a range ofenticing exhibitions, I chose“Fashion Drive: Extreme Clothes in the Visual Arts” - SHOCK. Carefully curated by Cathérine Hug and Christoph Becker Fashion Drive captures multi-media art from the Renaissance to the present escorting the audience throughout history and its most extreme looks. Over two hundred pieces including paintings, sculptures, installations, prints and watercolours, photographs, films, costumes and armour by some sixty artists were on display generously covering a surface area of 1000 square meters. Fashion Drive is a sincere attempt in showcasing how artists have viewed, commented on and shaped the world of fashion throughout the centuries.It was an immense pleasure to appreciate this often under-appreciated  journey of fashion from a context of “high art” and to visually make sense of sartorial progressions. In order to go creatively forwards one must go back into the archive with an understanding of how we got here… and why.

Key Impressions:

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A portrait of Louis XIV proudly gazing down at his audience (us), seemingly aware of his own immense contribution to fashion industry. His role as a leader was instrumental in shaping the esprit and dominance of France as the epicentre of fashion. Together with his then finance minister, Jean-Baptiste Colbert, the Sun King initiated the clothing and textile industry in France through practices such as outlawing foreign textile imports and applying a strict dress code for visiting nobles to appear only in the latest fashions. Before Louis XIV it was Spain which held the crown for its renowned fashions and set the aesthetic pace to be mostly black and of austere colours. However, Louis XIV understood that images have the power to shape ideas and so hechanged the trend narrative by boasting opulence, vibrancy, and raising the bar of theatrics and maximal frills commissioned in portraits such as this. He even changed the meaning of the colour red, redefining its connotation to one of wealth and excess.This portrait stems from the Zurich area in the 1700s, featuring the wife of the president of the carpentry union- a woman firmly placed in the middle class. While she is dressed in the latest fashions, her smile is tense, her eyes reveal a sense of embarrassment and unease. She looks slightly uncomfortable, like she doesn’t quite belong. Her clothes are wearing her due to a lack of confidence. Why? Well technically she is breaking the strict Sumptuary Laws by wearing luxury textiles, textiles reserved strictly for the upper classes. She is breaking the tight morality laws set in place to distinguish the social classes and therefore risks being given a fine or even jailed. She committed a crime of fashion - a crime in the best of ways, a desire to indulge and enjoy the taste of luxury.This portrait of Marie Antoinette by Elisabeth Louise Vigée-Lebrun is one of the last and most significant images almost foreshadowing the epochal changes triggered by the French Revolution. The painting was considered scandalous 1) because it was painted and presented at the Salon by a woman - GASP!- and 2) the French Queen bulldozed over standard courtly etiquette, choosing instead to be portrayed beneath her ranks as a shepherd’swife- wearing a delicate, dangerously transparent cotton dress.I was taken by this moment of a thoughtful onlooker appreciating this portrait of Pauline Bonaparte, sister of Napoleon. At the time, she was considered one of the most beautiful women in the world. This particular image matters in the context of fashion history as it is the first image to appreciate a woman’s individual self and her own beauty. In contrast of fashions and depictions before, the subject could be defined by the  textile she wore and be held together by corsets. Here in contrast, Pauline wears a natural transparent blouse, nothing to hide behind or rely on to look beautiful. The case was made that beauty can come from one’s own discipline - the discipline to take care of oneself and one's body. A revolutionary and even empowering idea giving responsibility to the subject. What does this say about today with the rise of corsets - are we potentially losing some of our own control?

A Turning Page: Digital Opportunities for Print

 The closing of Soho’s magazine institution Wardour News bruised the many hearts of those who hold fashion, art and pop-culture dear. As word broke that the newsagent of 34 years could no longer afford the astronomically rising rent in the neighbourhood, now dominated by chain coffee shops, one really starts to reflect on the end of an era. An era where art students, practitioners and sartorial connoisseurs would plunge into a dream world, soaking up the cultural ingenuity and zeitgeist like sponges all from the flick of a page. Reading through a fashion magazine is in a way the most direct route to our time’s cultural incubators who propel a system of aspiration and desire  - without the shops which support them, we lose a considerable portion of our culture. Furthering this downward spiral of losing cultural institutions was the news of Interview magazine, founded by Andy Warhol in 1969 to have folded. The closure follows years of financial difficulties and various lawsuits against the company. Interview Inc. has provided the following statement:

Today, Interview, Inc. (the “Company”), which owns and publishes Interview Magazine, and its two holding companies, sought protection under Chapter 7 of the United States Bankruptcy Code. The Company has been operating at a financial loss, and had been funding its losses and costs of its operation through loans obtained from its secured lender.  The losses, however, continued to mount, and the Company did not believe its financial condition would improve in the foreseeable future.The Company will be liquidating under the provisions of the United States Bankruptcy Code.  All of the assets of the Company will be liquidated and distributed to its creditors in accordance with the law.”

The loss of these cultural institutions reflect the volatile media landscape and evolving consumer  behaviour who today expect instant information gratification at no cost. Subscription rates continue to decrease, advertising budgets are distributed elsewhere (e.g Social media influencers) and digital platforms have opened the floodgates where anyone with a smartphone can become an online publisher. Like Spotify who has changed how we consume music, digesting information today can be compared to using running water; we choose to turn on the tap - not questioning where exactly the information comes from- and we turn it off again when no longer need it. Even 10 years after the mainstream adoption of social media, we are still in the midst of a digital revolution, still finding our balance on how to best make sense of the continued upheaval across the publishing industry. But within an environment of often stated doom and gloom, we have no choice but to in fact view this volatility as an opportunity, and actively take control of these changes to ensure long term success. Easy said - sure, but after listening and reflecting on conversations with 3 industry experts, below are key takeaways on how digital can offer a turning page to the print experience.

  1. Dylan Jones OBE, Editor in Chief of British GQ stresses The premium for quality journalism: 

“There is so much imagery in the world, which in a way makes imagery something devalued. But magazines have become hero products, more important in the digital age. They are something luxury, something to keep. They are not just a consumer product, but here to inform and inspire.” Continuing to successfully lead British GQ after almost 20 years, Mr. Jones clearly understands and operates on the opportunity to offer quality information and journalism in the midst of fake news. There is a growing demand for factual information and a welcome alternative to click-bait headlines grabbing our attention at a swipes notice. “With digital migration there is a return to print. There is so much noise… We are prepared to pay a premium to pay for genuine quality content. Not everything can be free.”

  1. Alexandra Shulman CBE, former Editor in Chief of British Vogue envisions increased Artistic Autonomy : 

Reflecting on her experience as editor in chief before her departure of British Vogue last year, Ms. Shulman stated that it had become increasingly difficult to express individuality in creative direction. With brands demanding full look spreads and certain celebrities only allowed to be associated with certain brands, stylists, editors, and photographers are continuing to lose out on creative autonomy. However, as print magazines become less reliant on selling on newsstands and therefore do not need to be sold on the basis of attention grabbing text or a “model of the moment” on the cover, digital can offer more creative freedom. With publications shifting towards the online space, there is increased opportunity for innovative covers with could incorporate  for example moving image, illustration and no need to even have a person on the cover. Shulman also expressed that improving the relationship between print and digital could offer a more efficient means for showcasing young talent and allowing consumers to directly experience fashion.

  1. Jenny Cossons, Chief Partnerships Officer at Lyst highlights the opportunity of Consumer Interaction: 

Speaking on the future of trends, Ms. Cossons, explained how absolutely everything in fashion is “100% consumer led”. Social media platforms have torn down walls where all consumers have the ability to influence one another, dictate trends and legitimise fashion. “Designers and media used to dictate the consumer, but now it is the consumer who is dictating to brands, designers and media”. In order for brands to move forward, it is essential to meaningfully interact with the audience by offering more opportunity for co-creation and react to organic dialogue. Also, in this data driven economy where data equals power, the intermediary position of publishing houses means they are perfectly situated to take the pulse of the industry. Not only do they inform and inspire consumers, but they have the capability to inform brands on better decision making and consult on what is working.The world continues to change at an unprecedented pace and within the field of fashion, the differences are noticeable season by season. The problem with fashion is that we always looks towards the future, we live 6 months ahead, not fully able to capture the present which is why perhaps the industry as a whole has been slow in adapting to changing technologies. However the technology is here, whether we like it or not, and before we let it take complete control of ourselves, it is up to us on how we use it. We must adopt technology to actively further culture, creativity, and champion the highest standard of quality or else we will cross the tipping point where we become controlled by mind-boggling technology. Let’s not lose the human element in cultural production. 

Fashion’s Future Stars: In Conversation with Sarah Mower

 

Earlier this month, Sarah Mower, Vogue’s chief critic and the British Fashion Council’s Ambassador for Emerging Talent, invited four of Britain’s brightest rising fashion stars to London’s Victoria and Albert Museum to discuss the future of fashion. Representing this fearless, emerging generation of talent was Matty Bovan, Nicholas Daley, Samantha McCoach of Le Kilt, and Richard Malone. Although very distinct in their creative visions and stories, it was what united them which left a huge impression on the audience and offered a fresh approach to cultural production.

What surprised me most about these four unique designers was how each of them partake in multiple job roles in order to support themselves, as well as their future collections. Daley stated, that “to survive in the industry you have to be able to multitask” and constantly refresh your portfolio of skills. Next to designing for their own labels, each young designer lectures at various universities, all expressing the rewarding experience of working with students. Being taught by active designers, students are equally able to appreciate the realities of running a brand in an age of social media.

Matty Bovan, who teaches at Central Saint Martins and Leeds Beckett University, additionally collaborates with brands such as MAC cosmetics, illustrates for magazines including LOVE magazine and additionally models and styles for shoots. No wonder, Mower referred to him as the “Star… for all the many things that [he does]”!

Working multiple jobs and undergoing various collaborations have become a necessity, as well as a reaction to a challenging environment:

“I think we saw a lot of designers who we became friends with or interned for, that went under badly – you know, like serious money, serious problems – so we were like no, we can’t let that happen to us. This isn’t viable. This is scary stuff. I think our reaction came from that and working out a different way of doing things… Not necessarily a jack of all trades but its an interesting way of doing it,” explains Bovan.

Another interesting way of doing it is opting to work with local British manufactures and to remain transparent throughout the supply chain. For example, Malone stitches the weaver's name into each garment as he views production to be more aligned as a collaboration.

“People see things so quickly now, they want a better understanding of what they are looking at and what exactly goes into it… Now people are making more of a conscious effort to look back and understand exactly what it is what they are looking at or wearing or where the fabric comes from,” says McCoach.

Naturally, sustainability has become a prerequisite for young designers where recycled textiles, end of life fabrics, and zero waste Tensile, in the case of Malone, are the norm.

“The customer doesn’t need to buy something from me every single season, or even every year, but they might pass a piece down to their daughter, or come back in a couple of years’ time. It’s about not having any waste. We have even made our Mini Kilt, which comes directly from the offcuts of our Kilt Classic, and which I think is quite heartfelt. We made it because we would notice this growing box of scrap fabric – the way the kilt is constructed means there’s always an 18cm bit you can’t do anything about – so we made this mini kilt that went into Liberty, and sold out.”

It is this thoughtful, authentic approach taken by these designers which is a welcome contrast to the cookie-cutter logomania bonanza extravaganza which we are usually confronted with - whether on the high street or on Instagram. Bovan proposes “a different way of doing it” by refusing scalability and keeping things personal; it is about the craft, not clothes, stories, not marketing. Have we turned a new leaf? Or is this attitude simply the beauty of youth which accommodates utopian ideals? (I lean towards the former - I too am a wide-eyed youth!)

Looking around the Lydia & Manfred Gorvy Lecture Theatre, I see Bovan’s mother Ms. Plum  Bovan sitting in the front row, smile on her face, visibly proud of her son for not only of his creative achievements but for the values that he and his colleagues stand for. As many worry about the unsustainable developments within the fashion system, currently full of turbulence and volatility, I was left with a sense of optimism by the lead taken by these four young designers, all of whom will surely play a considerable role in pushing for positive change in the years to come.

Azzedine Alaïa: The Couturier

“My obsession is to make women beautiful. When you create with that in mind, things can’t go out of fashion” - Azzedine Alaïa

Azzedine Alaïa was a one of a kind designer. A designer as loyal to his friends and colleagues as he was to his uniform of black cotton Chinese pajamas. A designer who declined to step onto the catwalk after each widely praised presentation, as he believed the praise should go to his atelier, not solely to himself.

The influence of Azzedine Alaïa within the field of fashion and the greater arts remains extraordinary. The Tunisian born designer will forever be proclaimed a genius - not a word to be used lightly- due to his innate ability to absorb and translate inspiration into exquisitely precise, timeless, and powerful clothes.

Alaïa attended the School of Fine Arts in Tunis before moving to Paris, age 21, and acquired valuable experience by working for Christian Dior (under the tenure of Yves Saint Laurent), Guy LaRoche, as well as Thierry Mugler. In 1981, together with his long-term partner Christoph von Weyhe, Maison Alaia was established. Here, Alaïa started to alter the way fashion was viewed and produced, reinforcing its place within the arts, and demonstrating a personal approach by draping, cutting and pinning together fabrics directly onto the amazonian bodies of his models. Acclaimed fashion journalist Alexander Fury stated Alaïa was one who “thought with his hands”.

While Gianni Versace is often credited for the creation of supermodels such as Naomi Campbell, or Yasmin Le Bon, it was Alaïa who held the star power as models would cancel other bookings in order to be part of his legendary shows. Campbell still refers to Alaïa as “papa”. Since, 1988 Alaïa chose to abandon the often constricting fashion calendar and would present ready to wear and couture months after other designers. What distinguished him is that he would create for the women, while the majority of other designers would create for the show, to create buzz or word of mouth - dictated by market expectations. Alaïa would only present whenever he had a collection ready to present and would oftentimes step back altogether from the runway, and only dress private clients who could commit to at least three extensive fittings. The current pace of the industry and soulless approach of mass-produced fashion is the antithesis of what Alaïa lived.

 

His contribution to fashion is unprecedented, renowned for not only aesthetic innovations but for intangible qualities such as making femininity and strength synonymous. One of his most important design developments includes introducing the “body-con” form, also known as second skin dressing, which made him known as the “King of Cling”. Also, his innovations in material are also cutting edge, such as repurposing leathers to be feminine and delicate. Alaïa’s heavy use of black helped catapult the colour to be associated as chic and pure. Through black, there was no opportunity for the designer to hide behind loud patterns - tailoring had to be precise.

The exhibition Azzedine Alaïa: The Couturier currently on show at the Design Museum in London was co-curated by and organised with the designer prior to his untimely death at the end of last year. 

The exhibition is set against a backdrop of specially commissioned screens from Alaïa’s friends, also leading contemporary figures in design and art including Marc Newson, Kris Ruhs, Konstantin Grcic and Ronan and Erwan Bouroullec. The abstract screens in metal and glass purposely intersect with the garments and together produce this vibrant conversation between cultural mediums. Organised by theme, not chronologically, the exhibition gives the audience an elevated appreciation of his dominant aesthetic contributions. I personally valued being able to get right up close to each dazzling piece, where you are granted the opportunity to look at the razor sharp tailoring, diverse textures, and subtle yet technically brilliant details. Each look was modeled on Naomi Campbell but elongated - an out of this world silhouette towering over us mortals.

The audience is immediately struck by his immense influence on contemporary culture, where for example the iconic purple, hooded dress worn by Grace Jones in “A View To A Kill” is on display. One also appreciates how Alaïa is referenced by other designers including Hervé Léger or Roberto Cavalli and how each look remains timeless yet modern. But above all, what strikes all who visit the exhibition is his warm personality and how very loved he was by friends and colleagues, best exemplified  by the series of photographs taken by Richard Wentworth of Alaïa’s studio - a place where friends were encouraged to “pop in” and grab a seat for a home-cooked meal. A communal ritual in the middle of the workplace.

When watching the accompanying video, it brought a tear to my eye when Alaïa was filmed joyfully dancing care-free, with his beloved St. Bernard Didine to “Let’s Dance” by David Bowie. While his spirit and legacy will always live on, this exhibition paid a sincere tribute to a true couturier and a remarkable human being.

33rd Hyères International Festival of Fashion and Photography

The past weekend saw the 33rd edition of the world-renowned Hyères International Festival of Fashion and Photography take place - an unmissable appointment for fashion folk far and wide. Developing and promoting young talent in the cultural fields has always been at the heart of the festival and is an ode to the vision and legacy of festival director Jean- Pierre Blanc who has presided over the competition for more than three decades.

The fashion jury, this year headed by designer Haider Ackermann, and including Tilda Swinton, Farida Khelfa, Delfina Delettrez Fendi, and Lou Doillon, awarded the Première Vision Grand Prize to Rushemy Botter and Lisi Herrebrugh of BOTTER. The Antwerp-based couple presented an inspiring menswear collection paying homage to their mutual Caribbean heritage and touching upon the themes of a dynamic culture and gender fluidity, accompanied by a pinch of playful humour.

The collection was an homage to the distinct style of the Caribbeans with vibrant colour, details, and images symbolic of the evolving, paradisal shores. Coloured fishing nets were converted to belts; accessories included water pistols and blow-up toys - often brought for a day of fun at the beach. Together, the combination of sharp tailoring and casual sportswear resulted in an equally elegant and energetic aesthetic - as did the explosion of deconstructed finishes, splashes of bold pattern and intelligent mixed materials.

As part of the well-deserved prize, Botter and Herrebrugh will be awarded 15,000 euros, a collaboration with Chanel’s Métiers d’Art, and receive a grant of 10,000 euros from Petit Bateau plus additional royalties from the creation of items sold by the brand. Also, Mercedes-Benz will invite BOTTER to present its collection during Berlin Fashion Week’s Spring 2019 collections this July, for the International Designer Exchange Program. 

The Chloé Prize was granted to Canadian designer Marie- Eve Lecavalier whose collection stemmed from a luxury rendition of Frank Zappa’s psychedelic visions, reinterpreting 1970’s roots to the present. Her intricately woven leather pieces were particularly impressive in form of structural tops and dresses. Like many finalists, her materials embraced a sustainable approach, employing leftover leather rejected from production and recycled denim.

 

The Public Prize for Fashion went to Belgian designer Sarah Bruylant, who offered a crafty take on Christian Dior’s New Look. The iconic silhouette was revived through exaggerated bi-dimensional balloon-shaping and given a modern twist through tangy dashes of colour reminiscent of 19th-century French pointillism. Clothes to dream about! Lastly, Ester Manas who produced a series of feel-good, plus-size womenswear, was hand-picked by Galeries Lafayette to create a capsule collection.

 

The Swarovski Fashion Accessories Prize was awarded to Kate Fichard, Flora Fixy and Julia Dessirier who aimed to shift perceptions on disability through an original project which elevates hearing aids into fine jewelry pieces. Cécile Gray won the Public Prize for Accessories with golden steel, fine mesh accessories designed to compliment and elevate clothes.

For the Festival's Photography Category, the jury, headed by Bettina Rheims, awarded the Grand Prize to Irish-American photographer Eva O'Leary, due to her powerful, raw images of teenagers coming of age.

What distinguished this year’s festival was the overarching desire to create with purpose, in symbolic message and utility. Fashion can no longer be judged only on aesthetic qualities - it must represent greater meaning relevant to society and proactively engage with our own lives. This rising generation of creative talent is consciously sourcing sustainable and ethically produced materials to the point where THIS is the new normal. An alternative for anything less is unthinkable.

The Domination of Ugly in Fashion and Politics

Whether it be reading the troubling news or scrolling through the flood of street style photographs on Instagram, it seems recently things have become a lot more ugly. According to Lyst, the leading global fashion search platform, “Ugly” was one of the most searched terms in fashion for 2017 thanks to a dominance of fanny-packs, wedgie-inducing jeans, and bulky puffer jackets featured heavily on the catwalk. The global trend has escalated especially within the footwear segment with Birkenstocks, Crocs, Uggs and in particular the chunky “Dad” sneaker legitimised by leading designers within high fashion, including Christopher Kane and Dema Gsavalia for Balenciaga and Vetements.

Within the field of fashion ugly is now respected - it is unexpected, provocative, an unflinching punch. Ugly is more interesting than the conventional notion of pretty because it gets people talking and shifts our compass of aesthetic norms and expectations. As exemplified by the collections by the likes of Miuccia Prada, promoting “ugly” design offers something new to the conversation and often acts as a catalyst for further design innovation. While the current trend for ugly arises from a mix of factors including a priority of comfort over style and an increased nostalgia for 90’s throw-backs, the composition of a general trend is much more carefully calculated and out of a consumer’s own control. Case and point: Miranda Priestly in the Devil Wears Prada explains in the famous cerulean blue sweater scene-

In a FT interview Lauren Santo Domingo, contributing editor at US Vogue and co-founder of the online luxury retailer Moda Operandi, stated that for a consumer to be convinced in a purchase, they need to see it three times: 1) on the catwalk, 2) in the form of an editorial spread, and 3) finally in store. Throughout the process, the product never changes, but the context does. This clear-cut process can even be applied to the most demanding items… enter the Gucci fur loafers AW15. Trend making can be a calculated journey which makes consumers believe own sartorial decisions are purely individual but in truth are more often decided by higher powers and subsequently trickled down.

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Why else would people buy platform Balenciaga Crocs for £350? Why else would people vote for a repugnant bully like Donald Trump for President?

Placing the process of fashion trend dissemination to political exploitation is the Cambridge Analytica whistleblower and PhD in fashion trend forecaster Christopher Wylie. As reported in The Observer, Wylie stated "Trump is like a pair of Uggs, or Crocs, basically. So how do you get from people thinking ‘Ugh. Totally ugly’ to the moment when everyone is wearing them?"

The same way “ugly” becomes a global trend - calculated repetition and visibility of the product.

By using the data harvested from over 87 million Facebook users, Trump was repeatedly presented again and again, in form of various tailor-made, targeted ads representing a trustworthy candidate who gets the job done. An all-American who was smeared by the fake news. A hero tackling the political correctness of the liberal establishment. You get it. They are wrong. They are “losers”. You have hopped on board a trend, a movement of something bigger.

You are wearing the Crocs instead of a hand-crafted pair of Manolo’s at the dinner party.

In fashion, trends come and go and through the digital landscape, they are extinguished as rapidly as they pop up suggesting Trump’s moment in the spotlight will soon become last season and tossed in the clearance pile. But it frightens me to think what comes next?

Virgil Abloh takes charge at "Louis Vuitton"

LVMH has appointed Virgil Abloh as artistic director of Louis Vuitton menswear with immediate effect where his first show for the maison will take place in June during Men’s Fashion Week in Paris. After months of speculation (ever since the collaboration between Supreme x Louis Vuitton), it is a huge move in the industry - completing the merger between streetwear with luxury, and hype with longstanding tradition. A disruption to the establishment. The American designer behind the streetwear label Off-White succeeds Kim Jones, who recently left the role to join Dior Homme, replacing Kris Van Assche.

Louis Vuitton’s Chairman and CEO Micheal Burke stated: “Having followed with great interest Virgil’s ascent since he worked with me at Fendi in 2006, I am thrilled to see how his innate creativity and disruptive approach have made him so relevant, not just in the world of fashion but in popular culture today.”

“It is an honor for me to accept the position of men’s artistic director for Louis Vuitton. I find the heritage and creative integrity of the house are key inspirations and will look to reference them both while drawing parallels to modern times,” says Abloh (37).

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As well as having earned a degree in Civil Engineering and a Master's in Architecture at the Illinois Institute of Technology, Abloh is additionally an artist, DJ, creative director, designer and uber-collaborator, having for example worked as Kanye West’s right-hand man overseeing multiple projects including stage shows and concert merchandise. Abloh’s brand Off-White c/o Virgil Abloh™️ was launched in 2012 as an artwork titled “PYREX VISION”, then known for screen-printed logos onto Champion t-shirts and dead stock from known designers including Ralph Lauren.

Since 2015, Off-White has presented seasonal men’s and women’s runway collections during Paris Fashion Week where the brand has led the charge in combining luxury with streetwear. The Off-White aesthetic stems from a range of influences, often combining sportswear references and performance fabrics, bold logos and graphics, and industrial details, including heavy-duty workwear straps. Made popular due to the dominance of “candid” street-style photos and a fanbase including supermodels Kendall Jenner and Bella Hadid, Off-White has gained a whopping 3.1m followers on Instagram and is hailed as one of the fastest-growing brands at retail.

Despite not having any formal training in fashion design, Abloh has mastered the art of “hype” and smart communication - designing for an Instagram generation where image is everything. While as a designer he does not bring originality, he has the expert ability to re-contextualise any innovation in any cultural field, which has sparked smash hit collaborations with the likes of Ikea, Jimmy Choo or Nike. What distinguishes his work from a sea of others? Those defining air quotes capturing words others have said, but in his own voice - naturally in Helvetica Bold font.

In our communication-driven times, the move in hiring Abloh, makes a lot of sense, where he himself is a media personality boasting 1.8m followers on Instagram. But one has to ask if hiring creative directors based on social media followings and designing for hype is sustainable in the long run? Critics and fashion insiders have mixed responses with Stavros Karelis stating "I couldn’t imagine anyone better than Virgil to carry on the legacy that Mr. Kim Jones left” while Style Zeitgeist's founder and editor Eugene Rabkin, responded to the appointment with an article entitled:

Louis Vuitton’s New Appointment Marks an Important Victory for Marketing Hype Over Design.

Abloh’s appointment at the most valuable luxury house in the world confirms that the traditional route in becoming a creative director - based on craft mastery, qualifications, and cultural cache - has vanished. A natural evolution from couturier to artistic director? Perhaps, yet I fear we are approaching a slippery slope, where “success” is based on online social media followings, “creativity” is constrained by short-term hype and “fashion” a short-sighted marketing exercise.

No matter. Who isn’t excited to see this new direction of “Louis Vuitton”?

The Rise and Rise of Katharine Hamnett

After 40 years after first breaking into (and disrupting) the fashion scene, British design legend and activist Katharine Hamnett has returned. And in full force at that, with no punches drawn or hidden. The relaunch of her independent namesake brand comes into light at a moment of peak relevance capturing the l’air du temps of, especially youth movements who are angry at the development of current events. Catapulted to fame through her bold political t-shirts in the 1980’s, she is back to make a statement; to share her message in motivating action. With for example the house of Paul Poiret relaunching next month at Paris fashion week and Hamnett’s iconic pieces now available for sale, it is interesting to note the current revival of influential brands who made fashion history to be introduced and enjoyed by a new generation.

Her Spring 2018 collection was presented at the Liberty London department store, followed by an enticing “in conversation with” lead by Vogue chief critic Sarah Mower. The collection was understated and casually cool, featuring those famous parachute-silk pieces and other celebrated designs reborn from the archive. There was a satisfying friction between the lofty silks and the utilitarian silhouettes, nurturing an overall feeling of urban refinement. The colour palate was mostly muted: dark greens, navy, tan, save from a couple red pieces adding a spicy punch. Especially the t-shirt pronouncing “Protest and survive” - the mantra for this season. Of course next to her studio collection those iconic t-shirts are also up for offer, now revamped with appropriate messages including “Stop Trump” or “Cancel Brexit”. Hamnett stated, “Brexit is the stupidest idea that ever happened (well since we invaded Iraq).”

 

Through fashion, Hamnett hopes to inspire action although she shared her disappointment with the lack of progress by resistance. “We have to up our game. Marches and t-shirts aren’t bringing much. 30-40 years of activism and we’ve achieved bugger all… Marches and T-shirts they have no teeth.” Instead, Hamnett suggests directly contacting local representatives. “You need to not email, but WRITE to your MPs and ask for a reply. They represent you… If everyone did that, in a week we would have a different world.”

She is not one to shy away from anything, especially a cause that she believes in. Case and point, the famous image of her with Margaret Thatcher taken in 1984. The image immortalised her, making political history with a T-shirt reading: “58% DON’T WANT PERSHING”. The t-shirt protested the installation of U.S. nuclear warheads on British soil. According to Hamnett, when Thatcher noticed the T-shirt she stated - “Oh, we haven’t got Pershing here, my dear. We’ve got Cruise. So maybe you’re at the wrong party.”

Next to her involvement with political activism is Hamnett’s dedication to sustainability. Ever since auditing her business in 1989 and being completely shocked at the manufacturing process, she has taken action to promote sustainability in fashion. She nods at the irony as she is the founder of the stonewashing textile process (an extremely polluting process due to excessive chemical and water usage). “I am the Eichmann of the clothes industry”. You can tell how energised she is about being a change agent by implementing sustainable material in her collections (such as organic cotton and silks) and encourages her colleagues to do the same. In reference to the “me-too” movement in comparison to the devastating effects of chemicals and pesticides she jokes: “He touched my bottom! I mean get the --- over it. The real feminist issue is the garment industry and slavery.” She advocates that we should focus more on the tens of thousands dying of pesticide poisoning as victims of the cotton industry in India and Africa and the national and international consequences that provokes (e.g climate change, food shortage, mass-migration).

I have tremendous respect for Katharine Hamnett as she does not just talk the talk… She is fearless, elegant, confident and incredibly talented. She makes people listen (even from 100 meters away thanks to her t-shirts) and always strives in pushing the narrative forward. It was a pleasure to speak to a role model. To someone using fashion to generate action in a time where many think it is enough to complain and passively “like” a photo instead of going out and doing something about it.