Fashion wares for sale in a street market are widely considered to be the final stage in a product-cycle bracket. A closed system based on a hierarchy; from inception at a high design level, to obliteration, the ‘trickle-down’ effect has a beginning, middle and end.
As a platform for performance, the stage lends itself ideally to the pushing of sartorial boundaries to entertain an audience, so its no surprise that most ‘fashion moments’ in have occurred in this medium. From Josephine Baker to David Bowie, fashion and the arts share these seminal and nostalgically symbolic images. Novelty and expression are the most important notions of the stage, to amaze and push boundaries for an audience is only the beginnings of successful entertainment.
Filmed between 1966 and 1980 by the self-proclaimed Magus of cinema, Kenneth Anger, Lucifer Rising is Anger’s portrait of the love generation, the dawning of a new age and morality. Continuing on from his previous works where fashion becomes a tool of power to conjure a magical sense of being, an invisible and volatile force, Lucifer Rising furthers this exploration crossing through millennia and civilisations.
The white shirt: a neutral surface and the basis of a man’s wardrobe – according to many-a-style manual. And thus, the white shirt is invariably presented as a garment that serves as the canvas against which the wearer’s individuality will emerge. According to this line of thought, the white shirt focuses and frames the body, while itself receding quietly into the background.
The blogger and the city; this crucial dynamic is an important and oft neglected aspect of fashion blogs – a consistent presence and relationship that is utterly essential to the context of nearly all of these platforms. To date, the discussion on fashion blogs in academia has been predominantly concerned with the technological and social implications.
With the power to transgress social codes and conventions, clothes can reveal themselves as a weapon, a provocation, a liberation; in darker times, repression. From documentaries to features to recordings of performances, this series of films explores fashion’s intimate complicity to the film medium in order to summon power in both contemporary and past times.
In the realm of spectacle, fashion and image reign. Agents of illusion and artifice, they play a role within the system and game of hierarchy. With Italian filmmaker and provocateur Frederico Fellini’s unbridled theatricality, the Catholic Church comes under such consideration and mockery.
Many women have begun to dip into the blog world, penning their own ideas about fashion, beauty and the fashion industry. However, there exists another group of women, who like Stovall are short and curvy and fierce and black, that are taking a grass roots approach to disseminating ideas about the fashion industry.
This month sees the second instalment of former French Vogue editor Carine Roitfeld’s new biannual publication, CR Fashion Book. But what exactly is a ‘fashion book’? It’s a slightly heavy-handed concept, but one designed, it seems, to disassociate Roitfeld’s venture from the mere realm of the mass-produced, market-dictated, fashion magazine, exemplified by ex-employer Condé Nast’s multi-national, industry-defining platform.
The power of fashion as a purveyor of possible selves has long been documented and discussed in fashion literature from a plethora of vantage points. Yet with the fashion weeks in full steam around us, I couldn’t help but contemplate this phenomenon; fashion savants in all their glory vying for uniqueness whilst simultaneously maintaining a firm identity as ‘one of the gang’.