“If the number of shows on the schedule is any indication that the future of Couture is all but cemented, the question we should be asking in the future is, “Why does this collection need to be Couture?”
Coolness doesn’t have a past; it rather operates in a perennial future. In that sense, heritage brands seem to have taken a route that guarantees sales through doing what the others are also doing. Those street style-savvy aesthetics can be Dior, Louis Vuitton, Off –White, anything. Their past cultural references mean nothing to a generation of clients that are both very young to remember and very uninterested to learn.
Elga Volga (Vogue Laboratory) interviews the women of her home country making local fashion history We live in unprecedented, rapidly … More
Now, with the Netflix series Halston telling his story, Halston’s name is being reintroduced to Generation Z through the performance of Ewan McGregor. directed by Daniel Minahan-and produced by Ryan Murphy, Still, as often happens with biopics, Halston’s family didn’t seem to agree or approve the miniseries. In fact, Lesley Frowick, Halston’s niece and chief executive of his archives, released a statement complaining that the series was “an inaccurate, fictionalized account” of her uncle’s life.
This kind of messaging blurs the line between advertising and editorial content to the point where there really isn’t any distinction between the two. Furthermore, it enforces archaic patriarchal stereotypes.
The list of references spanned from pop sensitivity (thus the Britney Spears closing song) to a refined version of mod styles along with punkish details.
Fast forward to today and Elbaz’s independent case is the norm of the industry. Designers come and go in an endless game of musical chairs that deprives talents of both the means and the time to formulate a coherent vision- let alone execute it over time.
As fashion houses adapted to accommodate the digital sphere, increasing consumers’ access to fashion shows, the role of a fashion critic has inevitably changed. No longer the industry’s secrets gatekeeper, the critic had to redefine its role. Enter social media. The decline of print magazines gave birth to a brand new kind of fashion criticism prospering in the digital sphere, that of fashion bloggers and social media aficionados.
What’s left to say here is that the format is wrong for many smaller brands and designers that do great design and tailoring-but can’t get through the digital noise or simply don’t have the resources to bring their vision to digital life. They need support as much as editors need a clear calendar to look forward to
Any cover star appearing on Vogue or Vanity Fair signifies less than the epitome of a cultural moment-and becomes part of a spectacle unfolding before the public’s eyes.