The new designs that came out of Paris Fashion Week were all fabulous and exciting, but one collection in particular made me think deeply about clothing, the body, and how we present ourselves to the world. Viktor and Rolf’s spring 2020 collection featured a collection of slender, doll-faced models who marched down the runway in patchwork gowns pieced together with contrasting fabrics. Their ensembles were avant-garde, prairie-style dresses; childish and playful, some were even reminiscent of my Grandma’s housedresses.

What took me by surprise was the highly visible tattoos that covered the models faces, necks, legs, and arms. Every model was covered in traditional, American-style tattoos with slogans like “keep calm and get tattooed” and “success is not final; failure is not fatal.” At first, somewhat naively, I assumed that Viktor and Rolf hired only models with gothic-typeface facial tattoos for this show until I realized that almost every model had “DREAM,” “LOVE,” or “SKY” tattooed across their foreheads. These matching tattoos were clearly crucial accessories for this show and essential to Viktor and Rolf’s ‘tough but innocent’ vision for the collection. The mixture of pastel floral fabrics, ruffle dresses and jelly sandals (an icon of early 2000s childhood) were combined with bold, almost macho tattoos.

Tattoo design made its first major appearance into haute couture in 1971 when Issey Miyake presented his seminal “Tattoo” collection. His now-famous ‘tattoo dresses’ and body suits were flesh-toned garments covered in a tattoo illustrative style that featured portraits of Janis Joplin and Jimi Hendrix. This dresses and bodysuits blurred the line between skin and clothes, suggesting that this full-body tattoo could be slipped on and off with ease. As tattooing was usually used to identify prostitutes and criminals in Japan, this ‘taboo’ technique shocked his audience but has come to inspire many younger generations of designers.

In 1994, Jean Paul Gaultier incorporated a similar method and used mesh clothing covered with tattoo designs to evoke real tattoos in his show entitled “Les Tatouges.” Using models both with and without actual tattoos, Gaultier extended the work of Miyake to create tattoo-inspired sleeves and tops. Again, the clothing suggested that tattoo designs could be put on and taken off, but it seemed that all kinds of body modification were integral to this collection. Models sported realtattoos, face jewelry and long nails, proving that any form of self-presentation could be fashion. Gaultier’s models were not simply blank canvases in which he could showcase his designs, but real people with the agency to alter their bodies who lived outside of the world of Gaultier.

Thinking again about Viktor and Rolf’s 2020 spring show, the tattoos brought a dark and intense atmosphere when used to accessorize jelly sandals and quilted dresses. In comparison to the colorful designs, the tattoos seemed dire, serious, and intense and presumably permanent. This integration of tattoos brings a sense of endurance and devotion to the fast-changing world of fashion. Even though the models could easily wash off the temporary tattoos after the show, tattoos make you think about what is important, consistent, and lifelong. The use of Vocabulary like “dream” and “love” put a hopeful and sentimental spin on the often masculinized art of tatouage. The messages are sweet, if not cheesy, perhaps pointing out the revealing, intimate nature of body art. After all, getting a meaningful, visible tattoo permanently embellished onto your body is like wearing your heart on your sleeves (or on your skin). It’s like constructing a second skin of your own that is unchanging and everlasting.

Tattoos are essentially a permanent form of fashion. They alter the appearance of our body as clothing does, but tattoos even more profoundly construct our style and identity because they are permanent. They are certainly not going anywhere without a large amount of pain and money anyway. Constructing one’s identity through fashion is a small endeavor compared to doing so through tattoos. Clothing can be changed, taken off and bought new. But what makes something so important that one should get it embedded into one’s skin? These designers’ attempt to incorporate tattoo design into their fashions is admirable and fresh, but ultimately, clothing will never match the power and devotion of a tattoo. Unlike the constant barrage of change and flux that comes with each fashion season, tattoos last a lifetime.

References:

https://www.grailed.com/drycleanonly/tattoo-fashion-history

‘You’re never fully dressed without a smile’, sang little orphan Annie back in 1976. Today, however, this seemingly glib aphorism rings truer than ever, as more and more people consider the perfect smile an essential aspect of their look.

My own experience with my smile has been mixed. I’m a small person with (according to my dentist) unusually large and slightly crooked teeth, and since my early teens I’ve been rather self-conscious of them. So in October 2018, I finally bit the bullet and had braces fitted. Being 23 at the time, I was conscious that I was significantly older than the typical orthodontist patient, but decided to accept 18 months or so of (even more) frequent ID’ing in exchange for long-term gain. With a heightened awareness of my own teeth, I caught myself paying extra attention to the smiles of others and the more I looked around, the more I noticed that braces on adults are far more common than I’d initially thought.

In 2012, the New York Times reported on the growing popularity of cosmetic orthodontic treatments amongst those aged 18 and over, noting that between 1994 and 2010 the number of American adults receiving such treatments rose from 680,00 per year to around 1.1 million. By contrast, the number of children visiting orthodontists increased by only 15%. Public interest in gaining the perfect smile has only increased since then, and at the end of last year Vogue published an article entitled ‘What Do Your Teeth Say About You?’. Here, Suzanne Scott commented on new trends and technology in cosmetic dentistry, informing readers about the most popular methods of teeth straightening and warned us about which whitening fads to avoid (note to self – throw away that charcoal toothpaste).

The growth in popularity of adult braces is undeniably bound up with the ideals of our social media culture – an obsession with perfection that, while unrealistic, we are actively encouraged to pursue. We’re all aware of the fakery involved in augmented reality filters that whiten our teeth, reshape our nose and define our jawlines, and we feel like frauds when we use this technology. The next step then, naturally, is to change those things for real. In such an image-obsessed age, appearance is everything and the rise in adult braces is symptomatic of an increasingly widespread anxiety about living up to our carefully crafted, ideal Instagram selves. We strive to make ourselves in this image.

The preoccupation of braces and orthodontics with reality can also be read in the appearance of these items, which tend to be valued either for their invisibility or their distinct visibility. For many adults, discretion is key when fixing their smiles: in order to give the finished result a veneer of reality, it’s important to make the process and devices by which it is achieved as inconspicuous as possible. Clear aligners such as Invisalign, hidden braces or white braces (like my own) have become common solutions to this problem. For others though, braces are a chance to make a statement, particularly through the use of bright colours and sparkling metal. In 2015, Kitty Hayes featured on the cover of CR Fashion Book, sporting a huge grin and bright blue ceramic braces. Indeed, the shape and colour of the braces was paralleled and exaggerated by the metal collar the model also wore around her neck. Although Hayes was only 17 at the time, the magazine’s target audience is significantly older than this, and the appearance of braces on the cover of such a well-known fashion magazine (which had, the previous month, featured Beyoncé) positions them as a quirky, eye-catching and stylish accessory.

Other accessories such as teeth grills and tooth gems have also emphasised the fashion potential of teeth and the latter have been worn by the likes of Kendal Jenner, Hailey Bieber and, most notably, by Adwoa Aboah, who showed off a Chanel tooth gem at the 2017 BRIT awards. Perhaps it’s time I jazzed up my own braces with something other than spinach, before they’re removed in April…

After graduating from the Courtauld in 2017, I began working in a “street art” gallery located down the heavily graffitied Brick Lane. The gallery is a hub for alternative sub-cultures that often engage with pop-culture so it seems natural that fashion designers would also clock on to the world of street art. My first exhibition was for Australian artist Ben Frost, just after this show, his commercial, satirical pop-art style was picked up by designer Jeremy Scott for Moschino’s autumn/winter 2018 capsule collection. His designs were printed onto handbags, dresses, hats and coats, the modern advert designs a notable contrast with 1960’s styling of the models. Ben Frost’s work subverts mainstream iconography from the worlds of advertising, entertainment and politics. Combining these elements with the ‘Jackie Kennedy’ styling of Moschino’s looks calls to mind Walter Benjamin’s idea of tigersprung. The show illustrated how the digital world can leap into the past, referencing the 1960’s right down to the pillbox hats.

Frost’s kitschy style seemed well suited to the ‘camp’ aesthetic of Jeremy Scott’s Moschino. Similarly, more traditional designers have collaborated with street artists to meet the continued demand for relaxed, sports-luxe fashions. The following year, I worked an exhibition with New York street artist Dan Witz. As we were setting up his large scale, photo-realistic paintings of mosh pits, I came to learn that he had also worked alongside a fashion brand the year before. Dior had incorporated his mosh pit paintings into their prints for Kris Van Assche’s Dior Homme, autumn/winter 2017 collection. Whilst initially wary about working with such an iconic house, Witz later agreed eventually agreed to collaborate once he understood the artistic vision behind the collection. His paintings explore the climatic tension of mosh pits and how they create ‘beautiful moments of chaos’. The prints then exploded over the runway, in suits, denim, capes and outfits worn by artists such as Liam Gallagher and ASAP Rocky. As popular culture and street-style becomes increasingly important to high fashion brands, street artists provide perhaps the most effortless intersection between ‘street’ and high style.

While fashion brands have taken a significant interest in street artists within the past few years, – see Kaws’ involvement with Vogue and Comme Des Garçons or Shepard Fairey’s own clothing brand, Obey- this cross over between designer and artist is not new. Keith Harring’s art and activist designs has been a cosntant influence to designers and brands hoping to reach the masses. On display at Tate Modern’s ‘Keith Harring’ exhibition was a Vivienne Westwood and Malcolm McLaren knitted jumper and skirt ensemble originally designed by Haring for their ‘Witches’ winter 1983 collection. Fittingly, the outfit was lent from the personal collection of Dior’s Kim Jones. This further connects fashion to the influence of street art. From the past to the present, both worlds intersect, forming an interesting and refreshing relationship that is bound to continue.

References:

Evans, Caroline, Fashion at the Edge (Cambridge, Mass: Yale University Press, 2003), p.34

https://www.stolenspace.com/ben-frost-x-moschino

Instagram – @benfrostisdead @danwitzstreetart

Business in the front and party in the back. Yes, the mullet has returned. While critics have hoped the style will remain part of a regrettable past, the mullet is experiencing a comeback in fluorescent colors and dramatic lengths. What was once considered a dark spot in the history of popular culture, the hairstyle now graces the pages of Vogue and catwalks of major designers. Whether we like it or not, the mullet is here to stay for those brave enough to wear it.

The mullet seems to have emerged within the music world of the 1970s. As a precursor to giant 1980’s volumized hair, the 70’s rendition of the mullet perhaps expressed a forward-looking sensibility, a way to achieve volume on top of the head without masses of hairspray. David Bowie adopted the hairstyle in the early 1970s to capture his futuristic, androgynous character, Ziggy Stardust. The redheaded spaceman was a bizarre and shocking subversion of gender for its time. This sense of androgyny can be seen in a photograph of Paul and Linda McCartney donning matching mullets in 1973, proving that the hairstyle could easily cross gender lines. The 1970s iteration of the mullet perhaps reflected an idealistic, progressive style that could be worn by people of all genders which provided volume and long waves at the same time. It was a step towards the endless volume and curl of the 1980s, but still reflected the shaggy locks of the counterculture of the 1960s. In the 1980’s however, the hairstyle was cemented as a symbol of bad fashion. From country singer Billy Ray Cyrus’s adoption of the hairdo to the Joe Dirt films from the early 2000’s, the hairstyle has long been synonymous with white trash, the antithesis of fashion.

Despite the sordid past of the mullet, this hairstyle has recently been seen on high fashion catwalks, magazine pages, and it-girls across the world. Marc Jacobs has particularly been interested in bringing the mullet back. In his autumn 2013 fashion show, he outfitted all of his models in in textured, uniform mullets. Anna Sui did something similar in her autumn 2019 show, in which all of her models wore spiky, technicolor mullet wigs. Gucci has also been rigorous in rounding up personalities and musicians who have mullets for their advertising campaigns, like Dani Miller and Amy Taylor who both wear mullets as frontwomen of punk bands, Surfbort and Amyl and the Sniffers, respectively.

Early in the semester, our class considered the definitions of fashion, and discussed the work of Joanne Eicher and Mary Ellen Roach Higgens who wrote that dress can be considered “an assemblage of body modifications and/or supplements displayed by a person in communicating with other human beings” (15). In this sense, clothing, tattoos, piercings, and even mullets are considered fashion, and those who adopt the these elements communicate something to the world in doing so. But what exactly does the mullet communicate?

As silky, shiny beach waves and blunt bobs have become fashionable in recent years, the mullet is a rebellion against orthodox styles. The mullet does not make much sense as a practical hairdo, as the flowing layers in the back of the head need to grow long while the shortness atop of the hairdo needs constant trimming. The backs of mullets often become infamously thin “rat tails” while the front stands up strait. It doesn’t make a lot of sense as a hairstyle, but this certainly appeals to people who want to push against the beauty standards and trends of the fashion world. Suitable for any gender, the mullet is a subversion of gendered beauty standards that separates men and women by their hair. It is both male and female. When we see a mullet we conjure up memories of David Bowie and Billy Ray Cyrus, but above all, I think the mullet is a rebellion against fashion and a celebration of “bad taste.”

References:

Arden Fanning Andrews, “Mullets and Shags, Oh My! The Anti-Blowout Movement Taking Over NYFW’s Runways” in Vogue, February 13, 2019. https://www.vogue.com/article/mullets-shags-hair-fall-2019-new-york-fashion-week

Joanne Eicher and Mary Ellen Roach-Higgins, “Definition and classification of Dress: Implications for Analysis of Gender Roles” in Dress and Gender: Making and Meaning, (London: Berg, 1992). 8-28.

With Christmas fast approaching, it is the time when sequins make a reappearance. Sequins are often considered a hit or miss, depending on personal taste. And yet, during this time of year stores continually produce sequined garments for the holiday season. Sequins of varying colours and sizes are eye-catching and are perfect to wear for celebrations. However, they are not only viewed as seasonal within the fashion industry but are now considered as year-round embellishments.

Often thought to be popularized by the 1970s or Michael Jackson, sequins in actuality have a long and complex history. It was Leonardo di Vinci who made a sketch for a machine to produce sequins between 1480-1482, which used pulleys and levers. However, this never came to fruition.

The word sequin or sikka in Arabic translates as ‘coin’ or ‘minting die’, which references money and wealth. Early examples come from the Greeks, who would drill holes into coins and tie them onto clothing for the elite. Similarly, gold sequined disks sewn onto garments were found in King Tutankhauamun’s tomb in 1922, which were deemed as a way to promise financial stability in the afterlife. In the late 16th century the term transformed into the French word ‘sequin’ that has been used ever since. Sewing gold, coins or sequins onto clothing became a symbol of wealth or status, and in some parts of the world was used to ward off evil spirits. As centuries passed, sequins came to serve new functions. During the 1920s, flapper dresses were often embellished with sequins to reflect the glamour of the age. In antiquity, wearing coins was expensive, heavy and impractical. However, by the 1930s Herbert Lieberman solved this issue through developing acetate sequins when working in film production for Eastman Kodak. This allowed for plastic and lightweight sequins to be seamlessly attached to garments, as seen in the modern day.

The impact of sequins on fashion is exhibited in the collection of the Victoria and Albert Museum in London. Many of their items demonstrate the long history of sequins within the industry, for example a 1932 Chanel evening dress made of saxe-blue silk that is covered with matching sequins. Furthermore, Cristóbal Balenciaga’s elaborate evening outfit reveals the designer’s interest in surface textures and patterns. In this example, the sequin discs are of varying shades of pink, which are designed to shimmer through the movements of the wearer.

As stated recently by Fashionista: “SEQUINS ARE COVERING THE SPRING 2020 RUNWAYS: Fashion’s obsession with sparkle is still going strong.” Sequins seem to be dominating modern spring fashions rather than floral prints, as shown in Marc Jacobs and Bottega Veneta’s recent shows that included a variety of shimmering evening gowns. Ultimately, designers are suggesting that sequins are not seasonal but a year-round trend.

References

Fashionista, “SEQUINS ARE COVERING THE SPRING 2020 RUNWAYS: Fashion’s obsession with sparkle is still going strong”, https://fashionista.com/2019/09/mfw-spring-2020-trend-sequins

Fashion Gone Rogue, “How to Dazzle in Sequins this Season”, https://www.fashiongonerogue.com/sequins-about-fashion-style/

Smithsonian Magazine, “A History of Sequins from King Tut to the King of Pop”, https://www.smithsonianmag.com/arts-culture/a-history-of-sequins-from-king-tut-to-the-king-of-pop-8035/

Threads Magazine, “A Short History of Sequins”, https://www.threadsmagazine.com/2019/04/24/short-history-sequins

Victoria and Albert Museum Website, “Evening dress”, http://collections.vam.ac.uk/item/O85664/evening-dress-chanel/

Victoria and Albert Museum Website, “Evening outfit”, http://collections.vam.ac.uk/item/O110006/evening-outfit-balenciaga-cristobal/