AREN'T WE TIRED YET? 

- Annika Hein

2010 marked the launch of Industrie Magazine and for their debut issue they strategically placed Ms. Anna Wintour on the cover with an understated, inconspicuous image credit. She was typically nonchalant, predictably and effortlessly vague and fooled no one as she distinctly represented herself! There was no character portrayal, no excess wardrobe, no reality escaping fantasy- the cover was a celebration of Anna as Anna. A pretty bold move for an unestablished magazine, especially given the industry pulling power of their cover star and her direct association with what was potentially a competing publication. They were proving a point, one that further cemented their dedication to the culture of fashion, shifting the focus away from trends, instead providing an insight into the personalities and moments that influence and shape our industry.

And at first, this defection from the frustratingly untouchable high fashion world was a welcomed distraction. The glorification of street style was a refreshing shift in focus, compelling us to delve into the intrigue associated with, not only who and what people were wearing, but how they were wearing it, where they were going and who they were with. The individual moved into the forefront, it was all about the attitude; personal touches by way of OTT nail art, eccentric phone covers, takeaway coffee cups and the latest magazines rolled up under the arm were equally important, acting as aesthetical props, strategically placed in focus providing intimate insight and extra understanding. The dutiful photographer boyfriend was always in tow and the art of the, “pose,” was mastered, (straight legs, one foot crossed in front of the other, shoulder slightly up, chin down, clutch placed perfectly at your side!). Next to follow, without missing a stylised beat were the bloggers, who were quick to realise the trick to getting photographed and pulling editorial focus, was to dress as ridiculously over the top as possible!

The appeal has slowly begun to loose its edge; it’s becoming dry and predictable, accelerating to the extent of no longer having anything to do with fashion at all. It has been converted into a deafening PR stunt, a cutthroat competition of the ugly and the unimaginative. The concept of street style has developed into an exhausting masquerade, comprised of personal attacks on the creative foundations of the fashion industry. Aren’t we tired yet?

It’s time to shift the focus, send our appreciation and admirations back to the influencers, the innovators and the shape shifters of the industry. The true individuals who genuinely and actively contribute to the development of fashion, those whose opinions and legacies are so greatly engrained in the framework of the industry, that something as insignificant as a captured moment on the street could never hope to verify and cement the important of their place or validate the strength of their voice. The underlying core of street style was to make fashion seem somewhat accessible and attainable, but what if it’s appeal all along was that it wasn’t? 

To be continued…

Best of Season.

It seems that in this whirlwind phenomenon we’re calling technology, there is such a rush to churn out information, that sometimes the race appears to be about urgency rather than substance, who can submit their review first, rather than who can deliver the most comprehensive wrap up. Each season presents us with collections that took month upon month to create, representations of heart and soul from the designer and their exhausted yet unfaltering team. It’s an intricate, meticulous and painstakingly time consuming process, but heaven forbid if we, the consumer, have to wait longer than five minutes to read a review, get hold of a backstage interview or a glimpse at the debut images. Remove the subject away from relevance, so to speak, and take it slightly out of context. Collection reviews written by clear heads, relative and in reference to the rest of the season.

Or, I could just be making a long-winded excuse for my decision to choose vodka and magazines by the pool for the last two weeks instead of sitting my butt down in-front of the laptop. Either way, here’s my reviews from Paris- true to form focusing on Chanel, Vuitton and McQueen.

Chanel:

A giant imposing globe was positioned in the centre of the runway, illuminated by 300 individual points making reference to the reality of Chanel’s world domination, "I've got my feet on the ground, but this collection is up-to-earth, not down-to-earth,” said Lagerfeld. The shadow casting, icy aesthetic, depicted a winter garden of luminous proportions, as designs of serious substance and depth made their way around the Chanel globe. Dark and lean, the collection paid homage to streamlined silhouettes, element aggressive brilliance, Anna Wintour’s infamous bob, the double skirt and a boxy variation of Chanel’s north star, the tweed suit.

Vuitton:

Vintage, undone glamour, slightly tarnished with an air of the drastically indulgent or tragically depressed. A sense of the morning after, sighting direct correlations to the exhibitionistic and voyeuristic tendencies that Marc Jacob’s believes hides in all of us. In New York it was an iridescent, glowing sun, for Vuitton, in Paris it was, fittingly to the collection, a hotel of grandeur proportions. Perfectly referenced by style.com as ‘intimacies exposed’ the collection was a romantic portrayal of decadence, executed in muted tones and luxurious detailing

McQueen:

Teasingly brief and so short it was almost cruel, Sarah Burton’s Fall collection was one of royal enchantment with underlying and coincidental references to the Catholic Church. The intimate presentation of just 10 looks, more than made up for its lack of size and spectacle with its beautiful grandeur, awe inspiring creativity and detailed decadence. Glorious pairings of opulence and embellishment, it was a breathtaking reality hit of what one can achieve in just 10 looks. 

Vintage Grace

2009 isn't exactly vintage as per say, after all it was only three years ago, but the timeless beauty instilled in this Vogue US shoot by the ever talented Grace Coddington has ensured the power of its whimsical aesthetic continues to be prevalent and captivating some five seasons after its creation. 

Grace’s work encapsulates the epitome of fashion escapism, creating wondrous world of magic and diversions of reality. It’s a Madcap World a highly romanticized representation of nonchalant grace and fierce energy, set amongst a contradiction of rubble and demise. The dramatic power, created through the bold shapes, bright colours and exaggerated movement, is counteracted by clever undertones of subtle arrogance and innocent purity. 

It’s a Madcap World, Vogue US February 2009

Photographer: Steven Meisel

Stylist: Grace Coddington