Fashion is widely regarded as an industry designed to make women (and men) look beautiful. Clothes are designed to be sold, and for this reason the principal role of a designer is to design clothes that flatter the figure, accentuating the silhouette and generally creating a garment which is both attractive and wearable. In this post I will attempt to look at how important it is for modern fashion to be wearable - although the recession is tightening its grip on industry in general, the fashion industry continues to thrive. The question I wish to explore is whether or not there is room for more avant-garde design in the commercial sphere - the main goal is to sell the collections, meaning that designers choosing to explore less practical visions are now taking a larger risk than ever.
Hussein Chalayan - one of fashion's most avant-garde designers
In terms of mainstream fashion, the truly iconic houses such as YSL, Chanel and Versace all rose to fame by selling their own interpretation of beauty. Although each designer had their own niche aesthetic (whilst Versace specialised in sexy, bold looks, YSL favoured elegance whereas Chanel glamourised androgyny), each designer created garments which sold well because they maintained a level of wearability which meant that any woman could wear the clothes and look (as well as feel) great.
Glamour in the 50s - Chanel
In modern society, the enormous presence of the media means that it is now more difficult than ever to maintain a sense of mystery in fashion. One of the greatest aspects of the work of designers such as Kawakubo and Margiela was that the designers rarely made public appearances or gave interviews, leaving the spectators to unravel the story of the collection. Sometimes the message was obvious - Kawakubo's 'White Drama' collection, for example, was a clear commentary on the restraints of marriage, a theme which she had previously explored in her 'Broken Brides' collection. However, other elements are open to interpretation; Kawakubo is renowned for her intellectual take on fashion, often choosing to create garments that aren't traditionally pretty in order to challenge perception. Kawakubo's F/W 2012 collection was comprised entirely of dresses which were designed to look 2D, shown in a variation of bold prints & colours. Lady Gaga later chose to wear one of the designs (now known as 'The Fat Dress') as a response to criticism of her weight - the exaggerated proportions of the dress render the dress almost unwearable, yet Kawakubo herself has given no explanation as to her decision to create a collection of dresses that are essentially impossible to wear.
The fashion industry is widely-renowned as one of the world's most competitive - for every designer that manages to establish a successful label, there are just as many that lose financial support and fade into obscurity. For example, French designer Olivier Theyskens set up an eponymous label in 1997 and managed to gain an A-list clientele, with megastars such as Madonna and Nicole Kidman commissioning his designs for the red carpet. Theyskens hit the peak of his career in 1999 with two critically-acclaimed collections, yet despite the designer's talent and distinctive aesthetic, he failed to secure financial support and his label collapsed. In a short space of time, Theyskens' gained a cult following that is still relevant today, and looking back at his own collections it is easy to see why.
Theyskens' designs often explored the juxtaposition between frailty and strength - his S/S 1999 collection was based mainly around a monochrome colour palette, and materials used included black leather, sheer latex and delicate organza. Whilst some looks were more traditional in their aesthetic, Theyskens' preferred to shock, sending out masked models in rubber bodysuits and exaggerated black gowns. The imagery for the collection was extremely distinctive and is said to have inspired later collections by icons such as Alexander McQueen - there are several similarities between the two designers, such as their penchant for gothic imagery and dramatic silhouettes. There is also an element of the grotesque to some of the looks - one of the most striking examples is of a model whose face is almost entirely obscured by black bird feathers attached to her black bodice, giving the impression that she is being devoured by crows.
It is impossible to look back at the history of fashion - especially the history of British fashion, without acknowledging the iconic Vivienne Westwood for single-handedly igniting the punk movement. Although this show has arguably become more famous for Naomi Campbell's fall than the garments themselves, the combination of an all-star cast of models and dramatic, luxurious clothing means that this collection is still as breathtaking now as it was at the time of its conception.
Quintessentially British, the collection incorporates the two sides of the classic British aesthetic. Westwood weaves swiftly between the two stereotypes of the rebellious youth and the chic aristocrat, resulting in an overarching social commentary headed by the Brit poster girl of the 90s, Kate Moss. Westwood even worked with Scottish craftsmen to create her own unique take on tartan that featured heavily in the clothes, establishing tartan as the go-to fabric of punky teenagers of the time.
The accessories are equally iconic - from heavily layered necklaces branded with Westwood's signature orb logo, to oversized headwear and four-inch platform heels, the overall theme of the collection was pure exhibitionism. Everything was done to an extreme degree, resulting in the kind of over-the-top glamour that has recently disappeared as fashion continues to move more and more towards clean, unfussy silhouettes and colour palettes. Being an Autumn/Winter collection, it is also inevitable that the majority of the shows best looks are complimented by killer outerwear - whether it be full-length, silk-lined fur coats or extravagant tartan capes, the coats of collection were arguably the highlights, proving that fashion can be cosy as well as fabulous.
This week saw the return of the prestigious Met Gala, the annual showcase of some of fashion's most incredible red-carpet looks. Swarms of high-profile celebrities flocked to the event to be photographed in this year's dress code 'Punk Couture' - a theme which has recently been explored in collections by the likes of Margiela and Dries Van Noten. The results were as often amazing as they were questionable - Anne Hathway, for example, wowed in a floor-length vintage black number complete with sheer detailing and a daring bleached crop, whereas Madonna made headlines for the wrong reasons, opting for a custom-made Givenchy jacket teamed with cliché fishnet stockings.
The event also served as a showcase for some of the highlights of the recent A/W collections - Katy Perry looked incredible in head-to-toe Dolce & Gabbana, whilst Miley Cyrus chose a floor-length sequinned fishnet dress by Marc Jacobs for a subtle take on the theme. The event also saw Riccardo Tisci returning briefly to the world of couture after Givenchy announced earlier this year that its couture line would be on hiatus - Beyoncé chose a dress that used the beautiful flame-print fabric from the latest collection, yet when teamed with a sequinned black corset the overall aesthetic was slightly top-heavy and overly bulky.
Yet another iconic collection comes courtesy of Japanese designer, Yohji Yamamoto. Famous for his reluctance to incorporate colour into his collections, his penchant for all things minimalist entered the mainstream in an era in which Italian powerhouses such as Gucci and Versace were dominating the market with their bold, luxe designs. Yamamoto's dedication to his signature aesthetic and eye for tailoring soon gained him a cult following which has continued to develop over the years. 1999's avant-garde presentation has gone down in fashion history as one of the greatest, partly thanks to fashion darling Shalom Harlow (star of McQueen's celebrated 'No.13' show).
One of the main reasons that Yamamoto is so celebrated is that he manages to use texture to add interest to a monochrome colour palette. The overall feel of the collection was one of ethereality - soft black chiffon and white ribbon were amongst the materials used. There was also innovation to be found in the "Secret Dress" - a white bodice with a full white skirt was revealed to have zip-away panels which stored a heavy linen cape, headwear and even white gloves.
