Most people think of the fashion industry as a worldwide business whose focus is on figuring out what we’ll wear next and how we’ll want to look in public. Fashion, however, is more than simply a moneymaker. And it’s a social and cultural phenomena, propelled by curiosity about what’s next. Since fashion is all about adapting to new styles and trends, the business will never be able to totally control it.
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Here we’ll examine many facets of the fashion industry.
1. the ‘new’
On February 12, 1947, Christian Dior presented his first haute couture collection. It displayed two lines, titled “8” and “Corolle” (the botanical word for a flower’s petals). You may think of the bar suit as an inverted flower. The corolla is the black wool crêpe pleated skirt worn over a stiffened taffeta petticoat, and the sepal is the waist-cinching, hip-length jacket made of natural silk tussore (the green protective layer that surrounds the petals).
When the presentation concluded, however, Carmel Snow, editor-in-chief of American Harper’s Bazaar, screamed to Dior, “I don’t understand any of the connections to botany!” “That’s shocking news, fellow Christian. I love the new style of your outfits! “. A Reuter’s reporter transmitted the comment, and the new moniker for the collection that altered postwar women’s fashion swiftly spread. The New Look, as it is still called, is a sign of seasonal change and the “newest thing” in fashion, but it also shows how clothing must undergo a certain amount of alteration before they can be considered fashionable. We learn a great deal about fashion not just through the tangible aspects of clothing and the act of donning them, but also from the process of conveying that information to others.
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2. Experimentation and adaptation
Fashion often promotes ideals that are out of reach for the vast majority of people. The power of fashion, however, lies in its ability to bolster the self-esteem of society’s underdogs. For instance, black and Latino gay men stole the aristocratic styles portrayed in the pages of Vogue magazine via a movement known as vogueing, which sprang from the New York gay balls of the early 1990s.
Magazines aimed at young people’s sense of style, such as i-D, abandoned conventional and elite looks in favour of ones that put an emphasis on gender, sexuality, and ethnicity. A 1991 editorial argued that as a wry reflection on identity in modern Britain’s multicultural landscape, a group of black male models dressed in Savile Row suits and traditional separates strutted in front of a row of fake Tudor houses. 2017 saw the appointment of one of the models, Edward Enninful, as editor of British Vogue. What was on the periphery is now at the epicentre of culture.
3. The body
The Game Changers exhibition at Antwerp’s Mode Museum in 2016 is a great illustration of how the history of fashion can be tracked via the development of clothing and its connection to the human body. It also demonstrates that fashion is not just about novelty, but may engage in a fruitful back-and-forth with previous eras of dress.
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4. The craft
The aesthetic value of fashion is not independent of its practical value. When Yves Saint Laurent translated a picture by Piet Mondrian into a silk crêpe dress, he made history as the first fashion designer to remark on art in a pop language. The geometric pattern may seem like a bunch of curves at first glance, but Saint Laurent’s atelier managed to make it look like straight lines on a woman’s body.
Martin Margiela turned the convention on its head by designing a garment with a bodice modelled by the standard Stockman mannequin stand used in most dressmaking studios. The outfit is a statement on the gap that will always exist between an ideal physique and a real one, and on the parallels between the two processes of clothing construction and body modification. Someone who has ever changed their clothes in front of a mirror would understand.
