Take a look at these and let’s think about what we see. From a fashion-history perspective, what strikes you about this collection of images?
Here’s an interesting article on the occasion of Oscars Night. (Actually it gets more interesting as you go along. You just have to get through the first bit….)
The quotation to think about comes toward the end:
So powerful is the potential for Oscar glory for fashion brands that Tom Ford withdrew from his London fashion week catwalk presentation last week to focus his attention on dressing the stars at the Dolby Theatre
“He was angry that the two events clashed,” says Catherine Hayward, fashion director at Esquire magazine. “So he made a strategic decision not to show his collection because he would also miss out on crucial press coverage – in media terms, nothing can compete with the Oscars now.”
And we may wonder: Why them? What is new here? What is not?
The aristos fight back? Or just more of the same?
The CFDA will be awarding Rihanna with their Style Icon award. The article mentions the icons she will be joining (the likes of which include Kate Moss and Iman), and I thought this was an interesting event for two reasons. One is that the article mentions the fashion houses she has been associated with (like Chanel, Lanvin, and Comme des Garcons). These names hold a certain amount of pedigree, and her mere association with them seems to be enough to declare her a fashion icon. The other point is that an association is naming her. Our discussion of the Zeitgeist suggests that a person being considered an icon can come from a number of sources (i.e. public opinion, trend setting, overall influence). It begs the question: How does the CFDA decide what makes someone an icon? Is their endorsement enough to actually make her one?
This is definitely something to keep an eye on. I have to say, I’ve been waiting for this to start happening for quite a while now. When would a female celebrity turn around and say: “Who the #$%& cares?” to the question “Who are you wearing?” (It would be Jennifer Lawrence, wouldn’t it?)
If this is indeed beginning to happen, and not just wishful thinking on the part of Hadley Freeman, then we’re in for some interesting times in the next few years. How will the labels react? How will the fashion reporters?
This article was interesting because it talks about the fine jewelry house, Repossi, and how their handcrafted ear cuffs have become popular amongst celebrities and pop culture icons, sending both the company and industry into major popularity. First introduced in 2011, the Repossi ear cuff was designed in order to appeal to the “conquering modern woman”–edgy and contemporary, with the perfect amount of feminism. Famous celebrities such as Emma Watson and Cate Blanchett have recently been spotted with this fashion on the red carpet, causing a sudden high demand for the style. Though growth is typically a good thing for a company, Repossi has seen a 27% increase in sales, which surprisingly worries artistic director, Gaia Repossi. She says that the handcrafted jewelry house has a natural growth limit, and that she is “. . . very scared of producing on a scale that would make the product lose quality. It’s very hard to combine good design and craftsmanship with massive expansion.” The demand for this style, as well as fine jewelry in general, has definitely increased because of these factors, and this opens up the market for many other fine jewelry companies to major comeback in the fashion world.
This Business of Fashion article discusses the influences presented by the college student within the current state of fashion businesses. More often now, we are seeing prominent designer houses (like Dior), engaging with college students and scouting talent at younger ages. Given our discussion of the Zeitgeist, I think this is an interesting reflection of what is influencing trends. Youth seems to be a major factor in the representation of many brands. It’s the reason designers choose young stars to represent their brands (like Elle Fanning for Rodarte or Hailee Steinfeld for Miu Miu). These are young women who are in the beginning stages of their careers. There’s a desire to sign these girls before they’re well known, while they’re still “up-and-coming.” One current trend that can be taken away from this is the need to have the latest and greatest, before anyone else knows about it.
I thought this fitting — or at least amusing– as one last post in the Spring term of 2012, as the focus was heavily on a perceived “90’s revival” in fashion.
This goldmine is worth several weeks worth of class discussion, but we’ll have to just have it here…