Covering Face in Fashion

The concept of covering one's face when out in the world; is far from new or original. Modesty culture is old. The intention of hiding something from surrounding strangers is one that many fashionistas not following modesty culture have struggled to understand. Modesty culture is alive and well but intersects with global trends less and less, and most people would not associate the majority of the global fashion scene with strict rules about how long a skirt should be.

However, partially concealing one’s face for non-modesty purposes is a relatively common trend that has been cycling in and out of fashion for a long time. Visards, for example, were black velvet masks worn by upper-class women in the 16th century, held in place by clasping a bead in one’s mouth, which differed substantially from modest face coverings. They afforded the wearer anonymity rather than modesty; thus, some safety and freedom for the women who wore them, whose behaviors were meticulously scrutinized and potentially put them in danger were their identities known.

Another, more recent example (though we may not necessarily think of them as such) is the side-swept bangs of the 00s. Here the primary aim is certainly not anonymity nor modesty (except maybe for the lucky few of us with uncharacteristically seductive foreheads). It is hard to argue that the side bangs are not a purely aesthetic choice, and it is notable they cover around the same surface area of the face as surgical masks. We may not consider them accessories per se because they are hairstyles; nonetheless, they were used to conceal a part of the face for aesthetic purposes and thus apply for the purpose of my trend prediction here.

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Then, of course, there is the elephant in the room - surgical masks. During the pandemic, face coverings were ‘trending’ out of necessity rather than a design choice, but many people from non-modesty backgrounds "spoke up" during this period of time about the liberation of keeping one's face hidden from strangers. Samantha Matt tweeted in June 2020: “Idk why people are against wearing masks. Masks protect you from coronavirus, yes, but they also protect you from running into people you know in public. Add sunglasses, and you are literally in disguise. It’s safe to do anything, anywhere, even in your hometown. This is my dream.” Psychologically, anonymity in such an intrusive world is always nice. Still, there are aesthetic/ fashionable reasonings behind this preference reflected by the barrage of branded, custom, patterned and colorful masks that followed the collective desire for safety.

The distinction here is important, as we did not pick masks because they were pretty. Since we were stuck with them, pretty and expensive masks were made. Nonetheless, the majority of the world experienced the regular and consistent use of this accessory for at least some time. The face coverings I am writing about are a far cry from these practical items but are their descendants. In 2023, most places no longer mandate masks, and most people no longer wear them. Why when given the freedom to choose how much of our face we want to show, would we choose less and not more?

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There is rarely a clear preference in fashion for modesty (loose and thick fabric with lots of coverage) or transparency (sheer and tight fabrics with little coverage). Most people find some balance between the two to be the most appealing (think small top big pants). Hence there is no inherent reason to prefer either face out or face covered fundamentally, but the time is right for us as a culture to enjoy a bit of mystery around the face.

It is well-documented that fashion is cyclical. Earlier I mentioned a few of these early inspirations, the most recent being side-swept bangs. Having been out of style for just under 20 years, those bad boys are right on time for a reinterpretation. While some might say that a reinterpretation of one style of bangs is a different style of bangs, we sure have had a variety of styles since then. I would argue against that, as none of the more modern bang trends have had this determination to conceal the face. Rather bangs today are focused on framing and are frankly far too light and subtle to be considered in the same genre as the side swept. No, we as a culture are still looking for a reinterpretation to take the world by storm, and I believe with face coverings, the wheels are already in motion.

The timing is also perfect if we consider the very well-documented roaring 20s theory, which suggests that ‘the 20s, as a consequence of the isolation and tragedy of the pandemic coupled with the poor state of the economy,y would be a decade of extremely vibrant and over the top fashion trends. Indeed, the worse things get, the harder we go with the fits - this has been recorded post both World Wars and other disasters. A big part of being over the top is more accessories. The face provides more space for accessories. Hence- match made in heaven. This is further backed up by the increasing popularity of similar ‘concealing’ accessories - most prominently gloves and leg warmers, which, much like the face coverings primarily add complexity and texture to an outfit.

Throughout this article, I have been using the vague term ‘face covering’. Living post-pandemic, masks no doubt most readily come to mind, but that is not at all the interpretation I believe will be the ‘it-face-covering’ of the decade. Allow me to introduce below some designers and items spearheading the trend, that might perhaps convince you to hop on.

Austin James Smith

A jewelry artist, much of who’s work covers and alters the face, AJS’s vibrant and freaky jewelry gets to the heart of both the anonymity and opulence of face coverings explored in this article.

MAM

MAM offers more wearable luxury face coverings and is a great opposite of AJS in its sleek aesthetic. I especially love the glasses shown and hope to see this interpretation of the face covering gain traction this year.

Gucci X Adidas

Though not classically known for their jewelry, the recent 70s-inspired collab of the brands gave is plenty of oversized sunglasses and visors that hide the face. Even more wearable than MAMs jewelry, this is the point in the trend that I believe we are at right now, with more conventional accessories being exaggerated and refined in a modernization of the trend of the 70s.

Source: https://www.billboard.com/music/music-news...

Gucci 100: A Centennial Collection and the History of Gucci & the Music Industry

It’s 1921 in Florence, Italy. On Via Vigna Nuova, Guccio Gucci has opened the first store of his eponymous fashion house, Gucci. Having been inspired by the lavish luggage he carried as a bellboy at Savoy Hotel in London, Gucci intended to found a brand of immaculate Italian quality with a focus on aristocratic-like luxury. (WWD.com)

Image via WWD.

Fast forward to 2021 and the house of Gucci is valued at $22.6 billion (Forbes). In celebration of 100 years of business (and of their enormous success as a luxury fashion house), Gucci released a special capsule collection in October 2021, titled Gucci 100. Though, curiously, Gucci did not center their centennial collection around the aristocratic inspiration that drove Guccio Gucci to found the brand. Rather, to honor its heritage, Gucci 100 hones in on the brand’s influence on pop culture, more specifically music (Gucci). Furthermore, Gucci opened five pop-up shops in October specifically for the capsule collection.

Image via Elle.

Upon hearing about the theme of the collection, I wondered why pop culture, and why music specifically? Before musicians like Harry Styles and Lana Del Rey became faces of Gucci (or even Lady Gaga portraying Patrizia Gucci in House of Gucci), what was the historical relationship between the brand and the music industry? Before we dive in, here is a brief look into themes of the Gucci 100 collection.

Upon researching the tradition of Gucci collaborations with musicians, not much comes up about music and Gucci before the 1990s and 2000s. Though, the fashion icons who donned Gucci in the 20th century are numerous: Grace Kelly, Jack Kennedy, Sophia Loren, and Princess Diana, to name a few).

Perhaps it’s more effective to start backwards, with the clues that Gucci itself has provided in promoting its centennial collection. To accompany Gucci 100, the brand created a series of playlists (available on Apple Music and Spotify) that appear to contain every song that mentions the word “Gucci”. From disco songs like Sister Sledge’s “He’s the Greatest Dancer”, to rock anthems like “Combination” by Aerosmith, to rap tracks like “Green Gucci Suit” by Rick Ross and Future, Gucci name-dropping has spanned many eras and genres of music.

However, the musical celebration of Gucci may not seem like news to us today. In a poll from 2015, mentions of Gucci in rap music far outnumbered any other brand. (Hypebeast) The Gucci label has become a staple reference that is synonymous with wealth and style. Like Bhad Bhabie’s “Gucci Flip-Flops”, sporting the double G logo could be considered a principle marker of success in the rap industry. Although Gucci-mania in rap seems solely characteristic of 2015-present, the influence of the brand can be traced back to a single fashion individual, Harlem fashion icon Dapper Dan.

Dapper Dan’s clothing (designs that reincorporated logos of fashion houses like Fendi, Louis Vuitton, and of course, Gucci) was sported by rap musicians throughout the 80’s and 90’s. But in 1992, Fendi won a lawsuit against Dapper Dan for the use of its logo, prompting the closure of his Harlem boutique (NYT). Yet, his influence on rap musicians lives on. Searching for “rappers in Gucci” yields endless results, as Gucci logo-mania has persisted for over 30 years. Today, Gucci itself even dresses big names in the industry, like A$AP Rocky and Snoop Dogg. Despite Dapper Dan’s lasting legacy in fashion and music, the legacy of controversy with luxury brands lived on as well.

In 2018, Gucci was criticized for copying a Dapper Dan Louis Vuitton logo design from 1988. Though advocates for Gucci allege that the brand was merely taking inspiration from him, a history of designers and other large clothing brands stealing from Black designers and artists seems to undermine that claim. The coats exhibit striking visual similarities with puffed leather logo sleeves and a fur body, the only difference being the exchange of the LV logo for Gucci’s double G.

Yet, before the advent of Gucci’s popularity in the rap scene in the late 80’s to 90’s, the Gucci brand itself did not seem to engage frequently with musicians or the music industry, making their choice for the music-themed Gucci 100 all the more puzzling. In the 21st century, on the other hand, Gucci and music have been inextricably intertwined through the choices of muses by Gucci’s current Creative Director, Alessandro Michele. The most notable is, perhaps, pop prince Harry Styles. Both featured in campaigns and dressed by the label for public appearances, Styles has become the indisputably face of Gucci for our generation.

The current ethereal yet flamboyant yet preppy aesthetic of Michele’s designs has also been conveyed through other musical muses. Lead singer of Florence + the Machine, Florence Welch, has been the face of both Gucci jewelry and fragrance campaigns. Similarly, moody-pop icon Lana Del Rey was the face of the Gucci Guilty fragrance campaign in 2019, accompanied by actor Jared Leto. The previous year, Del Rey and Leto accompanied Michele to the 2018 “Heavenly Bodies” Met Gala. With a musical-star-studded group dressed in and promoting Gucci, Alessandro Michele has further sunk Gucci’s glamorous talons into the music industry.

The savvy business strategy of penetrating the world of music has positioned Gucci as an integral part of the cultural zeitgeist. Whereas many designers limit their influence within the world of fashion, the expansion of Gucci into the music industry demonstrates to me that the brand is evolving with popular culture to appeal to younger generations (the next generation of Gucci customers). As a long time fan of Lana Del Rey and Harry Styles, Gucci’s connection to these contemporary pop artists connects me to the label by way of listening to and witnessing the public appearances of said artists who are now Michele muses. In recruiting popular musicians for campaigns and red carpets, Gucci targets the millions of fans that observe and emulate their style. Though this may not necessarily push fans such as myself to purchase Gucci (as it is a luxury brand), awareness and discussion of Gucci on the Internet skyrocket regardless. Furthermore, in listening to rap music, I find myself repeating the iconic lines referencing Gucci, inadvertently advertising the brand through the endorsements by rap artists. When my favorite artists are the faces of Gucci and some of the most popular music of the day drops constant references to it, members of Gen Z like myself cannot escape the grasp of Gucci-mania.

So, we return to our question: why is Gucci 100 based on music themes? The choice does not seem to align with the history of Gucci or its muses before the 21st century. Gucci has even stolen designs from Dapper Dan, who is credited with connecting Gucci and the rap industry. The foundation of the Gucci brand was based on crafting an aristocratic aesthetic, a legacy that can still be distinguished in Gucci’s current designs. Therefore, it seems that the choice for Gucci 100’s music collection is targeted to the standing of the fashion house in pop culture today. Contemporary music and youth culture is adamantly Gucci-crazed: it’s in their songs, in their feeds, on (some) of their bodies, and it’s in their minds. This year, Gucci was the most popular luxury brand online (Luxe Digital). While Gucci may have extrapolated their influence on the music industry beyond pop and rap to other genres to create a visually diverse and interesting capsule collection for their centennial, it is still undeniable that Gucci has the strongest hold of any designer on today’s music and cultural consciousness.

Featured image via Gucci.

Fernweh~3: South Korea

fernweh

/ˈfɛʁnveː/

farsickness or longing for far-off places

Welcome to the third destination, fernweh travelers! During today's visit, South Korea will be greeting us. Notwithstanding South Korea’s high esteem in today’s entertainment industry (K-Pop Army!), it was my special interest in East Asia, South Korea in particular, that made me search through the pages of history to find out how and from where did its fashion culture arise. To someone who is an enthusiast of preserved aesthetics like me, East Asian cultures present a very close-knit community of arts and crafts that is pricelessly valuable. Either due to their history, which enabled them to intertwine with the rest of the world, or due to their highly characteristic cultural elements and essence (probably from an orientalist perspective), or most likely due to both, the far Eastern cultures appear to present a more sheltered memory as a reflection of their ancestry. No matter what, modern Eastern Asian people glorify all the elements that make up their cultural whole and sow their present from the strands of the past. South Korea is no exception.

Joseon Era

As you may have understood from the previous entries, the question of “what did happen at that time of history?” is of great significance in our mission to keep track of why change is a constant in a culture’s order. Very similar to Japan, or more precisely from Japan’s exact opposite perspective, Korea’s fashion (before the North and South split) shifted according to their recurrent political and economic fluctuations. The first memorable element of Korea’s fashion history was the Joseon Hanbok, a loose combination of a top and a bottom worn during the Joseon period. It consisted of a jeongi, the top, and chima, the skirt, for females, and a jeongi and a baji, the pants, for males. The tradition of wearing a Hanbok extended its limit beyond Joseon’s roughly 505 years (from 1392 to 1897), but in between the period of 1875 and 1910, the garments, the accompanying hair and makeup, and the rest of this “luxury” look (which was an ideal dream, not a luxury; more like a way of expression, but let’s keep that talk for another blog) was toned down due to Japan’s political constraints and the West. The colors of hanbok went from vivid to dull; the hairstyles kept clean and simple.

Japanese Effect

In between the years 1910 and 1945, the Japanese colonial government banned the Hanbok, reasoning that it influenced and encouraged Koreans to be proud of their culture, which was apparently what they wanted to minimize at the time. The Korean people started to adopt a more Japanese style, which was influenced by the Western culture at the time, as you may recall from the Japan fernweh. People began wearing suits, hats, dresses that resembled the ones worn by Americans and Europeans. In the years following the Second World War, poverty struck the Korean culture again. Due to production limitations, the fabrics used were the simplest and cheapest; accessories and makeup were as light as possible.

Korean War

During the Korean War, people could barely survive. Yet, among all the poverty and distress, a lack of Japan’s direct oppression meant people could wear the Hanbok again. Because men mostly wore their military clothes, women adopted the garment back into Korean society.

1950s - 2000s

The 1950s gifted the newly formed South Korea Nora Noh, the founder of the country’s fashion scene and its first clothing brand. Influenced by the fashion schools and methods brought in by Americans, Nora Noh held South Korea’s first fashion show. Whatever they wore in Myeongdong, Seoul’s chic shopping district, became popular on the rest of the country’s cosmopolitan streets (probably miniskirts and high heels in the 50s). Then came the colorful hippie aesthetic of the 60s and the 70s. South Korean teens wore their clothing as a resistance to the time's conservative government. Until the 90s came and hip-hop culture took center stage. And that led to the rise of the South Korean (Hallyu) Wave of the 2000s and 2010s.

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Modern Times

Currently, designers like Andre Kim and Kim Mi Hee are known to the world. These names keep influencing South Korea’s modern fashion and fortunately have preserved the history of Hanbok, which was once under the thread of non-existence. South Korean musicians and actors that are highly popular showcase their support for South Korean brands by consistently using and advertising them. Due to all these investments, the fashion industry was even included in Seoul's 2020 travel video. As it can be seen, the threats South Korean culture had to endure somehow concluded in a fashion culture that is rich and inclusive. Now, more than ever, the South Korean industry encompasses a diversity of sectors at the forefront of innovation: from fashion, to movies, to music, to technology… 

Fernweh~1: Japan

fernweh

/ˈfɛʁnveː/

farsickness or longing for far-off places


The world is getting, if not smaller, closer. I used to wonder why so few people were able to experience unique places on Earth, even though we are all born to the same world and not to a specific country that we are destined to live in forever. Unfortunately, for various reasons, there are people who still cannot experience the beauty of being foreign to a culture. Yet, thanks to our century’s development, there are more and more people who are eager to and capable of satisfying their curiosity surrounding the question “What are they doing in that part of the world?” I am lucky enough to have been in more than one country across Europe, to have been a part of an international community, and to have met precious people from all around the world who gave me the wonderful possibility of calling them my friends. As a member of an intellectual body, I found myself asking whys, hows, and whats about the beautiful diversity that surrounds me. Intertwining MODA’s values with my questions’, this thrilling series called “fernweh” has been born. Out of all the possible words in the known languages, fernweh is the most appropriate one to describe how I long to learn more about every single corner of the world we live in. 

This new series, in which the clothing backgrounds of various cultures will be discussed, is called, proudly, fernweh, and Japan is the first station that will be crossed off my list. ようこそ日本へ！

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Japan has a vivid clothing scenery in today’s world. From the kawaii culture that once swept the mid-2000s to the lyric philosophies that probably allured the minds of the quick tempo lives, Japan has always been visible in our era. 

While discussing Japanese clothing, I will follow a chronological order of Periods, starting with the Nara Period, for the sake of our ease. 

Nara

Before the Heian period, as probably happened with most of the world, Japanese clothing had a highly practical and simple form for hunting, made of materials like animal fur and skin. In the Nara Period, the capital relocated to its namesake city, and that event kickstarted the beginning of what we consider traditional Japanese clothing. Nara Period clothes mirrored society’s social classes, as it was then divided into lower and upper classes. For women, their clothing represented the idea that "the higher their status, fewer were the people that could see them" (Rybalko). The new style of clothing was a direct consequence of Japan’s increased trade with China as well as the Shinto religion, which influenced the perception of clothing as a method of hiding from the speculative looks of others and evil spirits. These beliefs also reflected on the class division of the society, suggesting that the lower classes who worked in more inconvenient jobs were open to all the judgments of the people and the bad luck of the devils.

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Edo

During this period, the military regime of Tokugawa came to power. Trades with foreign countries and the Western influence that was spreading across Japan came to a stop. This also resulted in the disappearance of class division from daily life. When people were free of the hierarchical representation of status denoted by their clothing (as well as enjoying the increased wealth across the nation), they became much more free, creative, and artistic when weaving their fabrics.

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Meiji Restoration

This period coincides with Japan’s acknowledgment of the outside world and desire to catch up with the rest of the planet. Yet, they didn’t want to look like an Eastern colony of America and decided to develop themselves in terms of trade and technology independently. Both their economy and philosophical inquiry were inspired by the Western revolutions of the time. Therefore, in the clothing scene, a Western approach was established. The communal citizens were still wearing traditional kimono style, yet uniforms took the stage in the public institutions (like military and schools). 

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Post World War II

Following the Meiji Restoration, the previous global wars led to the incorporation of Western clothing attires to the traditional Japanese costumes, influencing the look of hairstyles, bags, purses, and accessories. Even though it is not unusual to see a person wearing traditional clothing in the streets of Japan, the traditional costumes are still mostly worn in ceremonies and important celebrations. 

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Present Representations

Today, Japan has a very colorful streetwear culture. From traditional clothes and business attires that represent respect, coinciding with a work environment that has deep societal roots, to more intensive kawaii and Harajuku wears, which comes from the intertwined cultural developments of anime, music, and media, it is definitely not a lie that your eyes would have a festive time in Japan.

However, if I didn’t mention Issey Miyake, Yohji Yamamato, and Yumi Katsura, it would be a huge disrespect towards modern Japanese clothing, in my opinion. These new trendsetting fashion designers are known for their mixture of traditional and modern designs. Japan is known for its traditional art, which has patterns from nature, animals, herbal, and oceanic sceneries. Via stitches, fabrics, or the simplest addition of a costume silhouette, these designers established a highly regarded reputation in the fashion industry. As Yohji Yamamoto’s designs reflect a more avant-garde approach towards clothing, Yumi Katsura and Issey Miyake’s attitudes towards design blend the modernity and the traditionalism of the Japanese culture. Katsura directly embeds the famous patterns into her work, while Miyake draws on the subtle shadows of the traditional patterns and designs of the kimonos as his foundation.

Yumi Katsura

Issey Miyake

Yohji Yamamoto

In this blog, we have visited Japan, a country hosting vibrant fashion streets mixed with history, tradition, and innovation. We learned that the clothes we may consider as fabric patches of “luxury” and “personal aesthetic” are actually the mirrors of its historical collective memory. They reflect the social, political, and ideological structures of the eras, as well as the emotions of people. I am still fernweh to Japan. However, hopefully, this will ease the desire. See you on the next trip...

Sites that may interest you:

https://www.tokyoweekender.com/2019/05/japanese-fashion-eras-heian-heisei/

https://www.britannica.com/place/Japan/History 

https://en.wikipedia.org/wiki/Japanese_clothing#cite_note-:4-6

https://fashion-history.lovetoknow.com/clothing-around-world/japanese-fashion

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A Guide to "Virus-Escapism" : 4 Shows to Stream Now

My younger brother claims he hates shows featuring “women in period dress.” Such shows are especially dull, he says, if they’re inspired by the works of a novelist, like Jane Austen. However, weeks into quarantine, my brother has joined my family in streaming many historical dramas (including one about Jane Austen’s unfinished novel, Sanditon). And the thing is, despite his jovial and witty complaints, he stays in the living room each time we hit play - suggesting that he might actually enjoy these shows more than he would like to admit.

And while I may be abnormally fascinated by period dramas, I’ve found that such shows offer much-needed escapism, right now. After all, I can’t travel to the English countryside or the coast of Greece. I haven’t left my neighborhood or ridden in a car in a month. And I have no idea when my life will return to anything resembling normalcy. However, there are many great shows streaming right now. And for just a few hours at a time, I find myself transported somewhere virus-free. Although, there are, admittedly, many women in period dress.

#4 The Durrells in Corfu: Season Four

I absolutely LOVE this series. Based upon naturalist Gerry Durrell’s three autobiographical books, the show follows the lives of a British mother and her four endearingly bizarre children, as they make a new home for themselves on the Greek island of Corfu.

However, while the show is filled with many picturesque scenes of picnics and drives along the Greek coast, Season Four is not as light-hearted as viewers might expect. As the fourth and final season culminates, the residents of Corfu are keenly aware that World War II is brewing. And the Durrell family finds themselves once more torn between two countries: their native Britain, and the surreal Greek island that they have learned to call home. And despite the presence of the show’s characteristic witty humor, season four is also a powerful narrative of a family impacted by events much larger than themselves. The narrative is thus made even more powerful by the fact that it is true.

And yet, to depict the show as “wholly dark” would be misleading. After all, Margo decides to become a beauty specialist and awkwardly shares much more personal information than her family would like to hear. Leslie still loves guns, and Larry is as self-important and dramatic as ever. Meanwhile, Gerry builds a zoo, while viewers wonder whether Mrs. Durrell will ever end up with Spiros. And despite the looming war on the Continent, the island itself remains as beautiful as ever. Otherwise stated, the show provides ideal escapism - made no less so, by the fact that the characters themselves are happily engaging in their own form of escape.

And for those who still want to know more about the family, PBS recently released a Masterpiece Special about What The Durrells Did Next.

#3 Vienna Blood

While Vienna Blood does not take place on the coast of Greece, its filming is similarly beautiful. The show follows the lives of a young doctor and a detective, as they work together to solve police cases in early 1900’s Vienna. Inspired by Frank Tallis’ Liebermann novels, Doctor Max Liebermann is an early follower of Sigmund Freud - and he controversially encourages Detective Rheinhardt to solve crimes by analyzing the psychology of his suspects. In this way, Doctor Liebermann attempts to revolutionize the fields of criminology and psychology.

From investigating bizarrely “artistic” serial killings, to exposing the violent traditions of a local military academy, Doctor Liebermann and Detective Rheinhardt travel across Vienna. And in so doing, they encounter everyone from mental health patients to pompous military leaders. Meanwhile, the show powerfully indicts the growing antisemitism of pre-World War Austria.

#2 Sanditon

Andrew Davies used Jane Austen’s unfinished manuscript, Sanditon, to bring this drama to viewers. And while Austen provided approximately 24,000 words of the novel, she only supplied the plot of the first episode. After that, the plot becomes Davies’ own. And this is very important, because this series is not typical Jane Austen. To avoid any spoilers, I will merely write that the series does not end in a very “Austen-like” manner - and this provides ample material for a potential (and currently unconfirmed) second season. However, while the series finale is uncharacteristic of Austen, I found the show no less interesting.

When the story commences, Charlotte Heywood (Rose Williams) finds herself unexpectedly spending the summer in the seaside town of Sanditon. And Charlotte is so likable, intelligent, and tough, that I couldn’t help myself from becoming attached to her story. Despite being a new acquaintance of the Parker family, Charlotte quickly becomes an integral part of their household. She has a rocky relationship, and eventual romance, with the younger Parker brother, Sidney (Theo James). And she quickly befriends a wealthy young woman who arrives - against her will - from Antigua. Meanwhile, the Parker brothers strive to expand the town, corrupt relatives plot to secure the inheritance of the ailing Lady Denham, and the town leaders attempt to taste a pineapple for the first time.

And while the show is composed of eight episodes, it was hard not to finish the series in one sitting. From a kidnapping to a boat race, the plot was continuously surprising. And more than that, the script is written intelligently - and I found myself wishing that we talked as eloquently in present-day society as the characters did.

However, while I loved this series, I purposely chose not to rank it first on this list - for the sole reason that I found the ending infuriating. This, of course, does not mean that the ending was “bad.” It just means that the series did not end as I wanted, and that I’m still holding out for a second season to “correct the record.” As strange as it might sound, viewers should pause the season finale when Sidney gets off of his horse (at the very, very end of the show). I wish Davies would have cut the story here; it would have been better to leave viewers in suspense, than to end the narrative as it did. However, the fact that I feel so strongly about the series finale is a testament to the success of the show. Sanditon is well worth the watch.

#1 The English Game: A Netflix Original Series

Developed by Julian Fellowes (the creator of Downton Abbey), The English Game depicts the dramatic origins of football in England. However, the show is much more than a sports show; it is a highly-intelligent window into the class conflicts, experienced in 1870s England. From riots to a factory strike, the show closely follows the lives of working-class football players - who are tasked both with feeding their families and with democratizing the game of football.

When the show commences, the pompous Old Etonians football players demand that the sport remain for “gentleman” only. Meanwhile, the working class residents of Darwen fight for an opportunity to play the sport - and they hope to make history by winning the FA cup. However, the story is not quite as one-sided as it might first appear. Arthur Kinnaird (Edward Holcroft) is the captain of the Old Etonians team, but he is much more democratic and kind than his teammates. And with the help of his wife, Arthur slowly begins to change - ultimately becoming a strong voice, in support of allowing professionals to play the game.

The show is therefore a very happy one. The protagonists are extraordinarily likable - and it’s easy to become attached to the plot. And it’s worth noting that I’m not even remotely a “sports person.” The story is just that good.

And Next on My Watchlist… Belgravia

Belgravia was just recently released on Amazon. And the drama (once again written by Julian Fellowes) is at the top of my watchlist.

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When Practice Exposes the Dangers of Theory: The Murder that Inspired Hitchcock's "Rope"

“That’s great in practice, but does it work in theory?”

And so might have begun the heinous plot of two UChicagos students in 1924. Nathan Freudenthal Leopold Jr. and Richard Albert Loeb became friends when they went to school together at the University of Chicago. As the child of a very wealthy Jewish family, Leopold had an IQ of 210 and spoke his first word when he was four months old. He graduated from UChicago with academic distinction, and he planned to attend Harvard Law. Similarly, Loeb was the son of the former president of Sears, Roebuck & Company. At the age of 17, he made history as the youngest graduate from the University of Michigan. As such, both men grew up in very wealthy, educated families on Chicago’s South Side. Both men were known for their “intelligence.” And both were obsessed with crime.

Loeb was typically lazy, but he spent an inordinate amount of his time reading crime novels. Meanwhile, Leopold dreamed of becoming one of Frederick Nietzsche’s “Übermensch.” Leopold honestly believed in, and internalized, Nietzsche’s theory that society possesses some “superior” men - or Ubermenschen - who are somehow above the dictates of society. In other words, Leopold believed that he was entitled to rebel against the normal constraints of morality. He believed that he could, and should, act “beyond good and evil.”

A quip from Alfred Hitchcock’s 1948 movie, “Rope.”

A quip from Alfred Hitchcock’s 1948 movie, “Rope.”

Leopold soon convinced Loeb that he too was an Ubermensch. They began committing vandalism and theft. But, they believed that they deserved more media attention than they were receiving. And so they decided to commit the “perfect crime” - as a trophy to their “superior” intellects. And in 1924, Leopold and Loeb kidnapped and murdered a 14-year-old boy, named Robert “Bobby” Franks. Leopold and Loeb convinced Franks to get in their car, as he was walking to school. And they murdered him with a chisel.

Eight days later, Leopold and Loeb were put into custody. They were sentenced to life in prison, plus 99 years for murder and kidnapping. And it turned out that they were neither supermen, nor were they infallible. They were not above the law, as they professed. They were not untouchable. And their heinous, unthinkable crime was not a trophy; instead, it became the representation of three lost lives. Leopold and Loeb atrociously ended the life of Franks, and they also threw their own lives away.

And I will not include pictures of Leopold and Loeb. Nor will I include graphic details of the crime they committed. Such details can be easily obtained from other sources, and that is not the purpose of this article. Nor is the purpose of this article to somehow glorify or romanticize Franks’ murder. On the contrary, I hesitated in writing this article, because I did not want to give Leopold and Loeb any satisfaction of media attention - even after their deaths.

Instead, I wrote this article because the story of Franks’ murder is important. While I’d argue that only a true sociopath could commit Leopold and Loeb’s crime, it is nonetheless worthwhile to emphasize the danger in believing - even momentarily - that any man is somehow above the constraints of morality or the law.

Harvard student and murderer, Brandon Shaw (played by John Dall), converses with his former headmaster (James Stewart).

Harvard student and murderer, Brandon Shaw (played by John Dall), converses with his former headmaster (James Stewart).

And Alfred Hitchcock likely shared an opinion similar to mine. 24 years after Leopold and Loeb’s crime, Hitchcock released the movie “Rope.” The movie tells the story of two Harvard students, who decide to kill a classmate and host a dinner party, literally over his dead body (the murder victim is placed in a trunk, upon which the innocent dinner guests dish their food). These Harvard students aim to prove that they are Ubermenschen. And they think that they’ve finally committed the perfect crime. However, as is characteristic of Hitchcock’s films, justice soon catches up with the murderers. And, just as in real life, it soon turns out that they are not nearly as untouchable as they once believed.

And while the movie is psychologically disturbing and sad, it is also highly intelligent. In just 80 minutes, Hitchcock powerfully indicts any man - murderer or otherwise - who thinks that he is somehow above morality or the law. And while Leopold and Loeb are luckily no longer present on the University of Chicago’s campus, their crime is a relevant reminder that the ideas of famed philosophers, even twisted and misinterpreted as they may be, matter. And they have consequences far beyond Harper or the Seminary Coop. After all, during Spring Quarter every year, UChicago students in Classics of Social and Political Thought read Nietzsche. And we are not the only college students to do so. And while it’s easy to sometimes get lost in the theory of a text, it’s worth noting that the abstract theories we discuss have consequences - far beyond campus’s quads. And sometimes it takes the memory of murder, to remind us.

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