Fashion Blurbs

Maybe it’s because I ran my first marathon some weeks ago or the fact that I’m reading the “Shoe Dog”, a memoir by Nike’s creator, Phil Knight, that I’m intrigued by the appearance of this ugly trainers trend.  

The kick-off began in 2016 when Demna Gvasalia created the Triple S-sneaker for Balenciaga.  Almost immediately it was marketed as a luxury sneaker and welcomed by the fashion in-crowd all over the world. Many fashion designers followed in these footsteps and presented their ugly examples: Acne with “Manhattan”, Calvin Klein’s “Carla” and Stella McCartney’s “Eclipse”. They all have the same characteristics: heavy, oversized and rough.

Do I like them?                    

I think I do because these shoes represent an anti-fashion state of mind. I’m intrigued by this new phenomenon. There is always someone somewhere who comes up with a contradictory creation that we either accept or delete.

Is ugly fashion the new fashion? There is clearly a fashion movement nowadays that views and makes garments differently from what has always been defined as (traditionally) beautiful. These clothes give a new meaning to elegance, finesse and beauty in tailoring and craftsmanship. Chunky shoes can look ugly but it doesn’t mean they are. They’re just another type of comfortable and wearable trainers.

I discovered some work by Antonio Lopez a few years ago and was attracted to his enigmatic sketches and pics as a Fashion Illustrator and photographer. By coincidence, as I was diving deeper into his career and private life, I read that the Danziger Gallery on Rivington Street in NYC was hosting an exhibition on his photographic estate. It was the first one to focus exclusively on Antonio’s photographs. As he never sent the negatives back for re-printing, each print is unique!

I would like to share his decades-spanning profile – because he was and is unique in his genre.

In the 1960s, Antonio Lopez left the FIT (Fashion Institute of Technology) as a student to take a job as a Fashion Illustrator for WWD. Back then was still very much the time of the ladylike look (think Christian Dior’s “New Look” silhouette from 1947). The NY Times fashion editor, Carrie Donavan, discovered his work and offered him to freelance. For an illustrator, being published in the NY Times was reaching the top in your career! Juan Ramos, fellow fashion student at the FIT, became his art director and together they embarked on a professional and romantic relationship. By the age of 22, Antonio received over 1000,-$ an illustration, an enormous amount at the time.

Let’s not forget that the civil rights movement also characterizes this decade of change. It did not go unnoticed in his illustrations. He was the first to work with a mixed race model, Jane Forth. Soon she was seen as the “Face of the Seventies“ by Life Magazine (July 4 1969 issue). As both Juan & Antonio started to enjoy the very active, blossoming nightlife in Manhattan, they became famous. It was also a good publicity stunt: Antonio a fashion star-illustrator whose face and image became known beyond his work. This was quite unusual in these days when illustrators were faceless artists working hard behind closed doors in the offices of newspapers and fashion magazines.

Soon Europe became interested. French Elle invited Antonio to sketch the collections in Paris. He and Juan fell in love with the “City of Light” and decided to stay the following 6 years. As Paul Caranicas explained, “They were pleased with how seriously Elle regarded them as artists and how their work was showcased as such: they could use black models without feeling the pressure of prejudice.” That was a big statement on the fundamentally different approach towards models in Europe and the United States. Antonio, being himself a man of colour (he was born in Puerto Rico), championed this refreshing new move and introduced women of all ethnicities in his work.

A nice anecdote of their Paris years is Antonio meeting Karl Lagerfeld and soon the two embarked on a creative association. Antonio and his entourage hung out a lot in “Club Sept” that became the epicentre of disco for the European fashion scene.  It’s also here he met and launched the careers of then unknown young versatile women like Jerry Hall, Jessica Lange, Pat Cleveland and Grace Jones. In a very natural way, he could take them out of their comfort zone, let them do things they had no idea they were capable of. You can sense this form of theatrical energy in his photos and drawings. These girls highlighted the sensual styles he favoured. He transformed the concept of models. We saw no longer beauties but strong personalities. He was drawn to women with (complicated) character, the atypical type. He saw the potential of what a girl could become and illustrated her in this way. As Jerry Hall said : “He drew me, not as I was, but as I should be”. Nowadays he would be named an important fashion influencer. He was a visionary.

When I think of Antonio Lopez, I see the fancy, funky, flashy, daring movements of his 60s, 70s and 80s models. They look so carefree. Of course, in reality, their lives were less so. But see it as a form of escapism which is always a good vibe momentum to cherish. It uplifts our daily life.

In 1976, Antonio and Juan moved back to NY. There was a proper cultural shift going on in the Big Apple and I suppose they wanted to take part in it. Unfortunately by the beginning of the 1980s, a dark shadow started hanging over his successful life. He was tested positive for HIV in 1984. He tried every treatment available and was determined to fight it till his last breath. In his work of these last years, you can see the connection with death. He abandoned colour, using only black and white, as he approached the last stage of his life. He died of AIDS in 1987, only 44 years old. Even towards the end, he kept on sketching because he realized being an illustrator defined his life.

Today his legacy lives on. Decades later, Carol Lim and Humberto Leon, the duo behind Opening Ceremony, created “Memento”, a new collection for Kenzo The overuse of amazing colours and prints references Antonio Lopez, who was a close friend of Kenzo. A documentary “Antonio Lopez 1970: Sex, Fashion, and Disco” will be released this fall. Written, produced and directed by James Crump the film covers his colourful lust for life and features his powergirls. I’m sure it will energise and inspire us! Stay tuned!To be continued…

TeDe

We all know Grace Jones as an eccentric music artist, an energetic dancer and the most androgynous fashion icon out there.
We might remember her not-unnoticed performance as the Amazonian bodyguard May Day in the James Bond film “A View to a Kill“ with Roger Moore.
But her latest movie “Bloodlight and Bami“ is only and all about her.
The title words are taken from the Jamaican Patois : “Bloodlight“ stands for the illuminated red light in a studio when an artist is recording and “Bami“ means bread, one of the bare necessities in life.

The film takes us on a road trip in Jamaica. Grace and some family members travel down memory lane revisiting places from her childhood.
We get to know her as a lover, daughter, mother, grandmother, sister, aunt and friend. We also discover that she tries to come to terms with a traumatised upbringing.

But on stage she forgets her demons. Her theatrical imagination lets loose. In the film, she connects with the audience in the most energetic and powerful way possible. She explains that a performer takes a risk; it’s a lonely but fascinating place up there. Off-stage, she comes across as a funny person, a hedonist, a fierce businesswoman but above all a modern nomad.

It also comes to light that she has a unique presence on the planet when we talk fashion. She is a visual person and her choices of outfits, make-up and jewellery are electrifying. She wears what she wants, how she feels in the moment. While getting ready for a show, her concentration is stunning and reflects in outrageous, screaming “I’m alive” garments with the ever-returning headpieces from milliner Philip Treacy that made her so famous.

She can wear it off because there is only one Grace Jones.

Go and see her movie. As the director Ms. Sophie Fiennes describes:
“I made a documentary. I had it not in control. The footage was clear and organic. An open journey, in the moment. You read the language through her body, her muscles, her dance.”
Life has not always been nice to her, but she kept on living and loving!

“Slave to the rhythm.
Love tot he rhythm.
Live to the rhythm.
Dance to the rhythm.
Never stop the action.
Keep it up.”

To be continued…

TeDe

Lately, we have been overwhelmed by anything and anyone focused on sustainable fashion. I am very pleased with this ethical awareness; we need to move forward to obtain full transparency in the fashion industry.

But where to start ? This was the main question asked last week when a group of women came together at the Wing (my women’s social club) to pick each other’s brain for an answer.

One of the main conclusions was that the whole industry has to change. I’d like to start with the (mega) fashion companies. Designers should be transparent about their environmental supply net. They need to give full information on manufacturing quality, including in their labels which organic materials they used. When a designer cares, it will come across in their garments, so the client will care as well. This is already proven by beautiful ethical brands like Stella McCartney and Everlane to name a few. In their e-commerce  they give us a true picture of what their collections stand for. Never underestimate the power of sending out messages through clothes. Take for example the involvement of Gucci in gun control last month. They announced their financial support during the SS19 catwalk presentation in Milan. Big fashion houses have huge resources that can only be beneficial.

We also need to address change on a legislative level. There is no FDA in the fashion industry. It should be set up to help and support all concerned parties navigate the upcoming global green fashion community.

Designers should also focus more on their (core) customer. It’s of vital importance to get to know them, to know what they want because in the future they will be more thoughtful when they buy less and buy better.

I’d like to continue with us, the customer. It is common sense that we have to start with ourselves! For example, let’s change the culture of fast fashion and embrace slow fashion. We need to educate ourselves. Do we really need more clothes? When I fall in love with a beautiful garment, I will ask myself this question. I will also need to know what materials were used, who made it and where it comes from. Another positive option is buying vintage pieces and re-wearing your favourite looks. I recommend talking and sharing these ideas. If you stand for something, people will notice and take action.

As an idea and motivation, I’ll mention the “Fashion Revolution Week”, an inspiring fashion activism movement, taking place 23-29 April. Let’s join them for a fairer, safer and cleaner fashion world.
There’s also the hashtag: #WHOMADEMYCLOTHES? Beginning by asking brands this big question so we get people engaged.
And how can you take part? I like one suggestion of inviting friends round for dinner and a clothes swap. Or organising a movie night and watching fashion films like “The True Cost”.

I will keep on brainstorming on the new honest, pure fashion forward movement as I’m really concerned.
And I’m not the only one, which is a very powerful feeling.

To be continued…

TeDe

IS FASHION MODERN ?!

I’ve been asking myself this question ever since I saw the exhibition ” Items : Is Fashion Modern ? ” at the MoMa in January, their first fashion retrospective since 1944.

Can Items be(come) modern?
This is the answer I wanted to find after exploring the 111 items of clothing and accessories from the 20th and 21th century.
They have stayed in our collective memories for a reason.

We are talking pieces like The Little Black Dress, the Levi’s 501s, the Jumpsuit, the Parka, the Swatch Watch, Dr Martens Boots, Capri pants, the Breton shirt.
These names live their own life and we all know what IT stands for.

But why does one Item become ” famous ” or ” wanted ” and another hardly survives its launch period ?
Is some luck involved ? The right time at the right place ?

I’ll take my Swatch Watch as an example. When the very first collection came out back in the 1980s, I bought one with my pocketmoney.
The concept of the shop was very colourful and inviting, the watches had a very different design and they used new materials other from the classical watch. Plus they were affordable. It was one big hit. All of a sudden everybody wanted a Swatch.
It made you cool by association.

Therefore I would confirm that the fashionable Item watch became modern overnight.
And many others of the 111 presented Items belong in that same category.
But as modern as it is, it’s also identified as a classic.
So modern and classic go hand in hand ?

Yes, I think that’s what happens on a daily base in the Fashion world driven by objects and frocks.
Because fashion and history are related.
Because fashion is represented in prototypes, stereotypes and status symbols.
Because fashion is part of life.
Because fashion embraces all kind of cultures.
Because fashion involves all genders.

We all have profound memories of Items we possess.
Based on global trends we gather, our Items represent a certain vibe, a chosen lifestyle , an emotional connection.
They will look modern.
They will become a classic.
They might disappear and all of a sudden be very popular again.
These are the dynamics of fashionable recognition.

That’s why Fashion is Modern, why Fashion is fascinating.

To be continued…

TeDe

It’s the New Year. A new you. A new view. And it’s also January, the only month we are not looking forward too. Our focus is on our resolutions list or some of us disappear in detox land.

However, I try to enjoy the first month of the year looking back at the festive season, not at the abandoned Christmas trees on the streets but at the window displays in the stores. The stores always make a huge effort for Christmas (until the sales signs scream at your eyes).

But it’s not only this time; all year round I enjoy the window displays. I have a soft spot for the window dresser and I think it’s a magnificent craftsmanship. They are true artists. Whether it’s a new collection, the spring season, a theme or a collab, they create beautiful presentations.

I remember, when I was at secondary school, a few of my girlfriends followed a course called ‘etalage making’. I was always curious to find out what they did with the props and the colorful mood boards that they brought in. Every Friday I went to the top floor studio to discover and admire their mysterious displays.

A lady who represents this profession accordingly is Madame Leila Menchari, ” Queen of Enchantment”. An exhibition at the Grand Palais in Paris last year was dedicated to her. She was the flamboyant window display artist at Hermes for over 35 years. About her job she said : “I have always loved storytelling. And there, that’s all I do.”

I agree. Window dressers give us free entrance to their imagination by telling us a (their) story. They share their dreams in reality. They feed us constantly with magic works and welcome us in their fantasy emporium. Have you ever discovered yourself smiling while admiring an ‘etalage’ ? I have, because they take you on a journey. They bewilder us. We live in a global community of instant experiences. I think this display still satisfies this need. I’ll never get enough of them!

To be continued…

TeDe

Pic 1 : modern shapes & shades for Christmas 2018 @Barneys NYC

Pic 2 : British sense of humour display

Pic 3 : Madame Leila Menchari in her workspace

Pic 4 : the use of colours & materials @ the Hermes flagship store here in Paris represents chique, solid garments