Stunt Fashion

Dominating many fashion headlines last week is the image of Bella Hadid being spray painted live onstage into a skintight white dress. This is the brainchild of Sébastien Meyer and Arnaud Vaillant, the designers behind Coperni Femme. The duo has had much success in the past, with the brand being endorsed by the likes of Rihanna and Kylie Jenner over the past year. But what is the spray on dress trying to say?

When interviewed on the topic, Meyer said this: ‘It’s our duty as designers to try new things and show a possible future. We’re not going to make money on this, but it’s a beautiful moment — an experience that creates emotion.” Yet how accurate is this statement? The spray on dress has been one of the most talked about outfits of the ‘23 show; googling ‘Bella Hadid’, ‘Coperni’, or ‘Sébastien Meyer’ results in autofill suggestions for the spray dress, and by all accounts and purposes this was a great business decision and money was absolutely made.

Now, for the ‘new and beautiful’ part of the statement: Manel Torres, the designer behind the spray-on-clothes had created the technology over 10 years ago, and was reaching out to luxury designers with hopes of collaboration back in 2013. He is not directly employed by Coperni. His name doesn’t autofill with Bella Hadid’s, in-fact the most recent article that comes up about him is from 2013 (the one where he says he hopes to collaborate with luxury brands, in fact). While he is mentioned by name in several of the recent articles from the ‘23 show, it doesn’t seem as though he is seriously considered to be the creative mind behind the piece (much like the creator of denim isn’t responsible for my new Levi 501s).

But why? While the showmanship is fairly credited to the Coperni team, when the technology is taken away there isn’t much left. The process is the backbone of the experience, without it it is just Hadid in a white dress. The dress is beautiful because Hadid is wearing it, but had the audience not seen the process of it being made it would have been a rather simplistic and disappointing look. In interviews Vaillant mentions modernisation and the need to show progress. On the surface, that seems true, yet as discussed, Coperni used technology that is over 10 years old and was not made by them.

Another thought the stunt inspires is one of comparison to the 1999 Alexander Wang show, where Shalom Harlow wore a white frock that was spray painted live onstage by two paint guns. This is considered to be one of the most beautiful moments in fashion history. Harlow, a dancer, had a movement on the turntable so poised and dramatic and unlike anything in prior shows. The piece was inspired by another piece of art, an installation of two paintball guns shooting at each other. This show broke the boundaries between traditional art and the runway.

There are obvious parallels to the Coperni show. Things were shooting at a model in a technically innovative way to significantly change her look onstage as a performance piece. Yet there are also glaring differences that account for the qualities of each piece. Mcqueen’s custom ordered paint guns, with detailed instructions on how each one should move were focusing on movement over the quality of the final piece, which is what made it so dramatic. Coperni on the other hand had people methodically spray, and later add finishing touches to the dress with scissors. There is no spontaneity or uncertainty with that and some of the tension is lost. Additionally, the clean and medicinal white of the Coperni show, coupled with Hadid’s nudity suggested a procedural approach, which is innovative to be sure, but devoid of the inherent emotion of mess. It is clean and well rehearsed, thus taking Mcqueen’s stunt and removing everything that made it emotional.

As an especially astute reader may notice, I did not like the spray on dress stunt. In summary, it was not technically impressive, said nothing and did nothing but create a stunt for the company in a very shallow way. But art is subjective and someone else may find meaning or emotion within it, and for those who do: I am happy for you. I just cant relate.

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How the Miu Miu SS22 Miniskirts Align With Current Fashion Trends

The Spring/Summer 2022 Miu Miu collection took social media by storm with feelings of nostalgia, as well as relevancy to current fashion trends with daring low waisted miniskirts.

The low-waisted look has definitely been making a revival in current fashion trends. Anything from low-waisted jeans to long, low-waisted patterned skirts, this trend has emerged through a Y2K-eque aesthetic—especially on Instagram models and influencers. Controversial in its emergence, this trend seemed to act as a reminder to many people’s middle school days in the early 2000’s, as well as seemingly only appealing to a certain body-type (very thin and non-curvy). However, although these controversies still apply, this trend has made reached both the mainstream as well as high fashion. The Miu Miu miniskirt definitely takes on this trend with a dramatic flair, combining the many different influences of today’s current fashion trends, including early 2000’s Paris Hilton fashion as well as 90’s supermodel core.

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However, while this look definitely plays with the obsession that Gen Z has with bringing back old styles such as Y2K fashion, the small stretch of fabric and distressed hemlines of these microskirts paired with edgier muted tones delivers this garment in a more serious and toned down manner than we are used to seeing—the flashy colors and sequined patterns of Y2K girlies.

The question now lies in the practicality of these microskirts, and whether these will actually be seen being worn by real people with different body types and shapes. While I would die to get my hands on one of these skirts, I do acknowledge the riskiness that would come with sporting one of these in real life (I’m already imagining the problems that arise when bending down).

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NYFW 2020 Digest

Fall/Winter NYFW has passed and we’re here to do a review of the top trends we predict will be big for next season.

Feathers and animal print continue their rule. Animal inspired textures and patterns were seen everywhere. From shearling jackets to feathered trims to snake-skin to the ever-popular cheetah print, this trend seems to be sticking around for at least another season.

Tailored and structured suit details. Whether asymmetrical or traditional, the blazer is coming back in a big way. This season we’re noticed a lot of layered and long variations of it.

Plaid layering. The pattern is back and it was everywhere.

Monochrome is here to stay. Monochrome has been around for around for a while and though many designers are starting to play around with the formula, the fundamentals are still there.

Duochrome is catching on. One of the interesting variations on monochrome thats been cropping up increasingly frequently has been duochrome- the combination of two key colors in a way that still looks as minimalist and effortless as monochrome.

Metric tons of fabric. Big sleeves, big skirts, big tulle moments, and big sweater layers are showing up everywhere.

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Haute Couture 2020 Roundup

Haute Couture 2020 has hit the runways, stunning some and puzzling others. We took a look at some of this seasons most talked about shows and now we’re going to break it down for you and what this means for 2020 fashion and red carpets. 

First of all, what is haute couture? How do you even pronounce it?

Haute couture (ot-coo-tyoor) is French for “high fashion.” It is distinct from all other runway shows and seasons because it is defined by a rather narrow set of standards. First of all, haute couture is always painstakingly handmade and hand-sewn from high quality fabrics. Secondly, haute couture is *usually* not for sale. Because these pieces are so costly to make, they are very rarely customizable. Instead, modern fashion houses use their haute couture shows as a way to publicize their brand and create a glamourous aura that, hopefully, positively impacts the sales of their ready-to-wear collections. Finally, haute couture is actually a very specific label that applies only to a select few designers. In order for a house to use the label “haute couture” it needs to be a member of the Chambre Syndicale de la Haute Couture, the exclusive association of haute couture houses within the larger world of fashion. Brands are evaluated each year on their status and extended membership by a special commission. The Chambre Syndicale was founded in 1868 in Paris and officially made “haute couture” a specific legal designation in 1945. Today, the Chambre Syndicale features 16 members, 7 correspondent members, and 18 guest members. 

Here’s a roundup of some of our takes on the 2020 season. Make sure to click through the slideshows to see all the drama we’re talking about.

Jean Paul Gaultier

One cannot speak about legendary haute couture without mentioning Jean Paul Gaultier and his 50 years of contribution to the fashion industry. This year marks his last at the helm of Gaultier haute couture, but he certainly went out with a bang and not a whimper. The Gaultier house is known for staging shows that break with the norms of conventional catwalks. Notably, Gaultier is a fan of embracing the show aspect of haute couture, even iconically transforming the catwalk into a podium for one model’s Irish jig. This last show was certainly not a disappointment, as Gualtier pulled out all the stops and did not cease to wow with his over-the-top creations. 

Givenchy

Certainly tamer than Gaultier, Givenchy stuck to classic silhouettes, choosing instead to play with enormous floral hats and puffy skirts. Though there was some play with waistlines and embellishments, Givenchy ultimately produced a collection that was wearable and will probably be sported by some celebrity on some red carpet soon.

Maison Margiela

Maison Margiela was dripping in color and fabric this season as John Galliano apparently pondered on the intersection of “rebellion” and the “bourgeoise” in this collection. The perplexing collection featured lots of work coats, lots of spots, dots, circular cutouts, lots of camel-toed shoes (from their most recent collaboration with Reebok), haphazardly arranged fabrics, and lots of vibrant nets over models faces. Regardless of whether or not you thought rubber gloves were a suitable accessory for this catwalk, Galliano does want you to know that most fabrics for this show were sustainably sourced, a detail equally as mystifying and ironic when put in the context of consumer fashion as the show itself. 

Armani Privé

The fabrics for this house’s show were inspired by colorful Indonesian Ikat prints. The collection displays a series of classical and slinky shapes with generously embellished jacket details and sparkly patterns in rich cerulean, with splashes of magenta. Armani Privé also took the idea of bringing back 20s fashion and made it a reality. Swinging beaded dresses and art deco trousers, complete with all the glitziness you’d expect from the costume department of the Great Gatsby rounded out this homage to the 20s.

Alexandre Vauthier

If Armani Privé paid tribute to the 1920s this season, then Vauthier paid tribute to the 80s and skillfully combined them with some favorite trends of the past couple of red carpet seasons. The 80s oversized shoulder-padded suit, a staple on a Vauthier catwalk, came back in a naked version. Vauthier suggested that we should just skip the collared shirt or, in fact, any shirt and go straight to accessorizing instead. Of course, there is no paying tribute to 80s fashion without paying tribute to the decade that it was inspired by: the 1950s. Back to the Future prom under the sea dresses made a comeback to round out this Vauthier collection. Judging by the fact that the naked pantsuit has been persistent in red carpet fashion, it would not be surprising if this collection made its way to some Hollywood function.

Chanel

Proper and maybe a hint of floral are the best way to describe this Chanel haute couture collection. Although a far departure from Karl Lagerfeld’s (🖤🖤🖤) jeweled collections of Chanel haute couture past, this season taps back into the longer hemlines, suits, and practical, if a bit boring, shoes (complete with both socks and stockings). Known for playing around with immersive runway design, however, Chanel was able to weave this collection into a storyline by surrounding the models with a rustic garden, recreating the French countryside in the middle of Paris by even adding a fountain in the center of the catwalk. You probably won’t catch this collection at red carpets though, unless some adventurous soul decides to try to bring back the iconic Chanel skirt suit in a newer embellished form.

Giambattista Valli

It wouldn’t be Giambattista Valli unless metric tons of tulle were involved in the making of this show. You’ve probably seen Giambattista Valli gowns sported in Cannes this summer or maybe at the Met Gala. The point is that his fluffy and poofy garments are hard to mistake for any other house. Sticking to tradition, there was lots of tulle involved in this runway as well, but unlike previous seasons this one also featured some slimmer gowns. Still featuring a decadent amount of fabric, some looks made the case for mobility in evening dress. Finally, it wouldn’t be a Giambattista Valli confection unless it was completed with the most extravagant cake topper of all: feather masks. These frames, though adding to the overall mass of material on the models, somehow made even the largest and longest tulle train look like it was weightless. Don’t expect these gowns to disappear from red carpets anytime soon.

Christian Dior

Dior delivered some serious goddess vibes with this collection, clothing the models in typical sheer Dior gowns and golden fabrics. Ethereal gowns, however, were not the only theme of the evening- so were powerful skirt suits. This isn’t just a trend for the Dior house though, it is also a distinct political statement posed as a question on a floor to ceiling silk panel at the center of the runway: “What if women ruled the world?” The collection itself, inspired by second-wave feminist artist Judy Chicago, certainly convinced us that Dior’s models were here to rule this runway. As per usual, plenty of pastels, plenty of floor length dresses that seem to whisper at you, and plenty of fairytale vibes. A staple in red carpet events, Dior continues and likely will continue building a cult of worshippers of mesh bodice dresses. 

Valentino

Although really only a correspondent house, no conversation about 2020 haute couture could be left without mention of this particular show. Valentino is back and in a really big way too. Though the brand started off the 2000s on shaky ground, its aggressive attempts at redefining itself have worked to make it come back and stay relevant. This Valentino runway was full of the vibrant colors and bold silhouettes that the house is associated with today. The biggest trend on the catwalk, and probably soon everywhere else, were the massive dangling earrings sported by many of the models.

Elie Saab

Haute couture is defined not only by how cutting edge it is, but also by its extravagance and opulence, concepts that Elie Saab is certainly no stranger to. For those unfamiliar with the brand, Elie Saab exclusively makes the worlds most embellished and downright royal looking gowns in the world. Floor length dresses encrusted with swirling patterns of gems and jewels of every color imaginable layered over translucent fabrics create the fairytale world of Elie Saab as per usual. This collection featured thigh high slits, long embroidered sleeves, and plenty of shiny as per usual, but also debuted puffy sleeves and even some cool girl sunglasses. If there was one word to describe this collection, it would be “gold.” If there was one way to characterize our reaction: “we went broke just looking at these dresses.”

Iris Van Herpen

One of the most interesting designers making gowns at the moment, Iris Van Herpen creates garments that mimic nature. These dresses are made based on the structure of hydrozoa organisms, bird wing bones, sound waves, and other biologically occurring structures and patterns. Many of these dresses are 3D printed and painstakingly sewn together on a miniscule level. Iris Van Herpen dresses are not just fashion, they are also research, science, art, architecture, and engineering. Each dress is meant to move with the wearer, creating a sense of organic movement and shape-shifting. Though they have been worn by many recognizable names on the red carpet, these mesmerizing gowns are fundamentally made for movement rather than picture taking.

Images from here, here, here, here, here, here, and here.

Are Binary Clothing Stores a Thing of the Past?

Vaquera, one of the brands featured at L’Insane, debuted a collection inspired by The Handmaid’s Tale. Image via.

Vaquera, one of the brands featured at L’Insane, debuted a collection inspired by The Handmaid’s Tale. Image via.

There is no doubt that the fashion industry is changing at a rapid rate. A dramatic 16% decrease in shows held at New York Fashion Week last February is evidence that the traditional gateway into fashion is undergoing an unprecedented transformation.

With the rise in popularity of fashion Instagram accounts such as Business of Fashion (@bof) and Diet Prada (@diet_prada), anyone with even a slight interest in fashion can now tune into fashion show highlights and seasonal trends with just a few taps on their phone. As the number of people granted access into the fashion world rises, a call for greater inclusivity in all respects is becoming increasingly resonant.

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This call for inclusivity is being met by L’Insane, a Parisian concept store opened by Lyne Zein, that caters to those who do not identify with a specific gender. Zein’s background in fashion and business management as well as her experience at Vetements provided her with the tools to open up L’Insane, which she prefers to call a social space rather than a store. In an interview with Business of Fashion, Zein shared that it is difficult for non-binary individuals to feel like themselves except in fashion-dominant cities such as New York or London.

L’Insane stocks a motley crew of brands that create genderless pieces, including Eckhaus Latta, Cottweiler, Vaquera and Dilara Findikogluand, among many more rising stars in the fashion industry. When asked about her intended consumer, Zein stated, “We want to dress anything and everything, human or not.”

The concept of L’Insane is radical relative to how stores typically market their clothing, but it is not entirely unexpected. As Gen Z consumers are entering the fashion market, they are calling for more representation and inclusivity. A study conducted by Innovation Group revealed that 56% of American Gen Z-ers know someone who identifies as being non-binary. As the demand for inclusivity rises, it will be interesting to see if clothing stores’ marketing strategies will change to adopt L’Insane’s method or if they will continue to target binary genders.

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“Inclusivity, gender neutrality, comfort, casualness—these are all things that are here to stay.”

— Lazaro Hernandez, codesigner of Proenza Schouler

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Dolce & Gabbana Did Something Problematic, Again

A Chinese model apparently struggles to eat her pizza with chopsticks. Image via.

A Chinese model apparently struggles to eat her pizza with chopsticks. Image via.

If you’ve come across videos of people burning their Dolce & Gabbana coats, bags, accessories, etc., then you’re witnessing the brand’s most perilous downfall to date.

D&G, as part of their marketing plan for their Alta Moda showing in China, decided to release a video showing a Chinese model struggling to eat pizza, spaghetti, and cannoli with chopsticks. The video was regarded as depicting old, insulting stereotypes, produced in bad taste.

What really sparked the current mayhem were the actions of the brand’s co-founder and designer, Stefano Gabbana, however. Stefano responded to the video’s criticism through a private Instagram message, where he suggested that Chinese people continue to eat dogs. @DietPrada, a popular Instagram account focused on calling out vices in the fashion industry, got a hold of and circulated Stefano’s messages, and that’s when the public outrage took form:

The D&G mayhem gathered enough infamy to garner the attention of the greater public, including those who don’t usually concern themselves with fashion industry news. To newcomers, this fiasco may come as a shock, but what you might not know is that D&G has a notorious, problematic history that isn’t limited to just this one instance.

In 2015, Domenico and Stefano both admitted that they were against the idea of gay couples having children through in-vitro fertilization (describing them as “synthetic children,” facing major backlash from Elton John and other members of the LGBT+ community). The following year, D&G decided to introduce a Hijab and Abaya line—an inclusive move that roused support—only to sell a shoe in the same line that was called the “slave sandal.” Stefano Gabbana also infamously took to Instagram to body shame both Lady Gaga and Selena Gomez, calling them “so ugly.” The brand is also notorious for choosing to dress Melania Trump, even after many famous designers publicly refused to dress the First Lady.

Singer-Model Raury protesting the D&G show on the runway after the brand had made t-shirts mocking the nature of boycotting (after many people decided to boycott the brand).

Singer-Model Raury protesting the D&G show on the runway after the brand had made t-shirts mocking the nature of boycotting (after many people decided to boycott the brand).

The brand has curiously been able to sell product and remain relevant despite boycott after boycott. But the uncomfortable ad in conjunction with Stefano’s racist messages may just be what marks D&G’s ultimate downfall. The brand is taking a major hit as their Chinese customers represent the majority of buyers for their luxury products. Stefano and Domenico did create an apology video, but buyers are still furious, and at the end of the day, stocks are dropping, and bags are burning.

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Feeds to Follow: @diorinthe2000s

The concept of @diorinthe2000s is simple but brilliant: it's literally an archive of Galliano-era Dior. However, because of the drastic artistic changes that Dior has made in the past decade or so, combined with Galliano's undeniably legendary work for the fashion house, this meticulous archive of an account is quickly on the rise. Dazed recently covered its 19-year old creator, and industry insiders such as Bella Hadid and Pat McGrath are loyal followers. Take a look below, and you might just get the appeal. 

@diorinthe2000s delivers daily, hard-to-find Galliano gems, all well-documented and of high quality. In my opinion, it's a worthwhile addition to any Instagram news feed.

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