Tag Archives: fashion week

{Time Travel February 2013} Chronicles of Chic: The Colonel has no clothes

12 Apr
Gavin Rajah A/W 2013 Beaded Colonel Hat

Gavin Rajah A/W 2013 Beaded Colonel Hat

The Fashion Week Joburg Autumn/Winter 2013 took place at the Newtown’s Mary Fitzgerald Square last weekend. Among the designers being showcased this year was the local design darling, Gavin Rajah, with a collection saturated with camouflage prints and military style. Is ‘war’ the New Cool? Or just Plain Bad Taste? By EMILIE GAMBADE.

Gavin Rajah’s CV carefully highlights the designer’s personal and business achievements, which he seems to accumulate at a regular rhythm; from opening his couture atelier in 2000, to the launch of Gavin Rajah Concept, an “Events & Interiors” company with client ranging from Nike to Jaguar, Rajah is an embodiment of a South African entrepreneur for the modern times.

Born in Durban, he studied law at the University of Cape Town before embracing fashion, designing his first dress for one of his friends during his time at UCT. The move was to be wise: Rajah borrowed R500 from his parents to start his own business and has since become one of the most acclaimed designers in the country. In 2006, he was the first South African designer to present his collection at the Paris Haute Couture Fashion Week and more recently, was the winner of the Design Indaba Most Beautiful Object 2013, with his pebble dress.

On the humanitarian side, the couturier is not running short of good deeds. He launched POSITIVE for Sun International, an event to raise funds for children with HIV/Aids and one year later, in 2007, was named Ambassador of Goodwill for the UNICEF. The organisation praised“Rajah’s transformative contributions to the lives of South African children and their families” and made him the first fashion designer to receive such title.

Rajah is a versatile couturier, a fact that often transpires in his collections; his ranges swing from sporty styles to evening gowns, using the wedding dress as a finale, something common to international Haute Couture shows. Mind you, his unbridled inspiration has many sources that sometimes can fight with each other. But the result often proved to be a nonchalant flirting between detailing, traditional craft and sensual romanticism.

For years his garments with sequinned patterns and gauzy layers have drawn the contours of a South African couture à la française, with a large attention given to craftsmanship, over-the-top embellishments and sparkling embroideries. He surrounded himself with “talented and experienced seamstresses” and the result is often, but not always, professional, refined and elegant; Rajah may not be a trendsetter, but he is a reliable brand in the still green field of South African fashion.

His Spring/Summer 2013 collection of panelled dresses straight out of Fellini’s La Dolce Vita was a masterclass in sporty elegance and modern retro and a breath of fresh air in a fashion week that was desperately seeking style. There is no denying that Rajah has a glimmering signature thanks to theatrical shows that tell stories of drama, femininity and wonderment. Every time his models would hit the catwalk, his creations, style and public sentiment were in perfect sync. More often than not, there is a coherent soul in his collections.

Until now.

Rajah brought to the Mercedes Benz Fashion Week Joburg his Autumn/Winter 2013 collection, an interesting ode to the peace/war symposium, a collection of “mythical defenders of peace” as he tweeted on the night. The result: a line up of pseudo-glamorous soldiers standing shoulder to shoulder like modern Amazons, ready to brave a dangerous crowd full of blood-thirsty journalists (seated, Twitter in hand) and flashing cameras (blinding, dangerous).

To drum up the excitement, there was a show before the show – Rajah never lacks imagination in creating a buzz. Outside of the venue, languorously seated on a Hummer, a model posed in a Gavin Rajah corset dress, military print on military truck, a headset of feathers and gold crowning her head, a photographer moving around her, camera in hand, shooting frantically. The beauty and the war, Rajah version 2013.

Inside, the décor was composed of two unstable-looking wired gates heading a rather bare stage; in the first minutes of the show, models lined up in some kind of twenty-first century women’s army, under the sound of machine guns (Can’t you hear the thunder? You better run, better take cover. Even better, wear Rajah military outfits).

Gavin Rajah A/W 2013

Gavin Rajah A/W 2013

In what was supposed to be a dramatic turn, the music shifted to a choir of soft voices flying over the room like angels (hear, hear, this is peace) liberating the models from their inertia.

Beside the heavy musical clichés, guns equal war/ angel voices equal peace, the collection was made of camouflage prints and military cuts, bold metal belts, sporty ensembles, neon touches on tailored blazers, cinched waists, zippered jackets, embroideries in masculine lines and an exaggerated colonel cap fully covered with camo-coloured beads; the range was also punctuated by dresses with plunging V-neck, breasts half visible, cleavage front row to remind us of women’s inevitable chest-weapons and sexual power.

The fact that Rajah found his inspiration in the military is nothing new or audacious; designers from around the globe regularly use the army style, epaulets, cargo pants, sharp lines, belted waists and splashes of khaki in their collections; the military clothing’s trend is still big in 2013.

Gavin Rajah A/W 2013

Gavin Rajah A/W 2013

But inspiration usually means light touches, connotations, taking it out of its original context to twist it into something that should make the audience dream or travel. There is an inevitable cross-pollination of ideas between fashion, art, street culture and politics, but it needs re-interpretation, re-invention and some understatement to avoid vulgarity.

Gavin Rajah A/W 2013

Gavin Rajah A/W 2013

In 1947, French designer Christian Dior’s New Look collection left the world in awe because it fought with excessive romanticism and impeccable elegance of the grey days of World War II. In ‘The New Look: The Dior Revolution’ by Nigel Cawthorne, Dior is quoted saying, “We were emerging from the period of war, of uniforms, of women-soldiers built like boxers; I drew women-flowers, soft shoulders, fine waists like liana and wide skirts like corolla.”

Kris van Assche, for Dior Homme, presented an A/W 2013 collection in Paris that was widely inspired from the military look but he cleaned the lines, simplified the cuts, creating a futurist and minimalist range that was speaking precise lines and innovation. It was strict and elegant, without unnecessary fluff or heavy soundtrack, a fashion response to the general economic doom covering Europe, where rigour and austerity seemed a de facto requirement.

Some of the dresses presented at Rajah’s show, like the black knee-length dress with the gold neck-brace, shoulders and hips short gold wings, could definitely work if extracted from the whole collection; this minimalist and purist style would have been worth a deeper exploration.

But Rajah’s A/W 2013 collection, as rolled out on the catwalk, failed at understanding today’s social context; it also didn’t inspire or make us travel to new horizons. It tried to enthuse the need for ‘peace’ but described women as modern warriors. It used the million times repeated cliché of a woman reduced to her sexual power. It ignored the shouting fact that South Africa is still deeply hurt by the seemingly never-ending violence against women, and the bullet-riddled reality. While staging war as the new sexy, Rajah seemed to forget that violence has already saturated South Africa’s reality.

He could have given us a collection rooted in his well-advertised fights, his desire to ‘transform’ the lives of South Africans; it would have been the right time. He could have presented a collection graced with subtlety, soothing the edges of a nation rattled by pain and regular monstrosity of crimes. He could have given us a collection that would have encapsulated the South African woman, balancing between strength and vulnerability, determinism and fragility, her voice too often silenced, her rights too often flouted.

What we got was a cheap mirage.

As the disappointing show drew to a close, one had no choice but to wonder if Gavin Rajah had lost his golden touch, or if this was just the exception that ultimately proved the rule. Only time will tell. DM

The story was first published in Daily Maverick.

http://www.dailymaverick.co.za/article/2013-03-14-chronicles-of-chic-the-colonel-has-no-clothes/#.UWfs5CuMEVk

Advertisements

{Time Travel 2012} Chronicles of chic: Fashion week, fashion weak

7 Mar
C:\fakepath\FashionWeek-Stefania Morland MAIN

Fashion is a merciless fairy-tale; from the small, often ignored studios of designers to the ruthless universe of retail, the competition is uncompromising and the reigning masters are few. Defined by the fashion weeks’ rigorous calendar, from New York to Paris or Milan, the world of what’s en vogue starts on the catwalks of four major fashion capitals. For a while, Cape Town’s been trying to join the party, with mixed results. By EMILIE GAMBADE.

Fashion Weeks are used to showcase the latest collections of inspiring designers around the world; usually split according to Prêt-à-Porter, Couture/ Haute Couture and Spring/ Summer, Autumn/ Winter, the pace is fast and the competition fierce. Magazine editors – the omni-powerful Anna Wintour front-row – local and international buyers, wealthy clients and VIPs of the day attend, hungry and demanding. It’s festive, fast and furious; it’s grandiose and emotional. Every faux pas is eagerly caught and reported by the press and enjoyed by the competitors. 

On the 6th of September, New York kicks off the round of fashion weeks, followed by London, Milan and Paris. Months before the shows, prominent fashion houses, owned by Louis Vuitton Moët Hennessy (LVMH), Richemont, Chanel SA and consorts, send their designers or close assistants across the world in order for them to build up their imaginary and mood boards. 

For as long as designers could dream, the translation of their inspiration, mainly fed through travels (across the oceans, real or imagined), readings and cross cultural sharing, gives birth to a collection, a mix of traditions and local workmanship; designers are final storytellers, writing with the tip of their scissors, silent lips and magic hands.  

In 1947, Christian Dior returned from a trip to the US and drew a collection inspired by the city of New York. Kim Jones, Louis Vuitton’s men style designer, recently used the Maasai traditional Shuka in his Spring/ Summer 2012 collection, some raising their voices to the ‘unashamed’ steal, while others praised his clever references to the bright blue and red decorative African fabric.

A collection tells a story of garments, shoes, hairstyles, makeup and accessories; the power of international fashion houses and their famous designers lies in their ability to write the tales of clothes and an ability to pull women and men into their world, glimpses of exotic places and faraway travels strongly embedded in their unique craftsmanship andsavoir-faire

The story-telling part is essential; a collection must have a meaning, the same way a painting, a sculpture is not done by chance, but the reflection of the artist’s mind; it is the mirror of someone’s very own creative intimacy, an attempt to embellish, dress the human body, turn it into a window to a new world of textures, cuts, tailoring and colours. 

Collections showcased at international fashion weeks typically encompass around twenty looks, worn by carefully selected models, focused by an edgy music, the whole spectacle set in a location that should be fitting it like a glove. 

Consistently, Africa inspires international designers and covers the pages of international magazines; splashes of warm tones and animal prints, hair like hens lost in the sand. The result, although a combination of western designs created by western hands for the western eye in search of faraway travels and motherland calling, is often beautiful, outrageous; it screams eternal sunshine and colourful fabrics, gold jewellery shining on the arms, heavy bangles worn like armours; African images on international catwalks seems rooted in the Serengeti or the vast lands of the Kruger Park, bright diamonds, ostrich feathers, zebra prints and leather skins symbols of an Africa very à la mode.

But what does Africa look like on South African catwalks? If it is anything similar to what was recently shown on the stages of the Cape Town Fashion Week (CTFW), then the Devil itself is reluctant to wear local.

Twenty-six local designers were presenting, over four days, what South Africa does best in terms of fashion design. Strictly speaking, it should be a proud display of local cutting, tailoring, trimming, all translated into a series of dresses, pants, blouses, shoes etc; and it should be, as Dr Precious Moloi-Motsepe, the director of African Fashion International (AFI) that held the fashion week in Cape Town, explained, “saleable”. 

Saleable, because if produced locally, from Cut, Make and Trim (CMT) to retail, a collection can generate a considerable income and be an economic driving force; the 2011 Annual Report of the French National Conference for the Industry (CNI), commissioned by the Ministry of Industry, states that the fashion and luxury industry in France employs 130,000 people with an annual turnover of 34 billion euros; around the globe, the fashion industry was worth 181 billion euros in 2011. 

Now, the recipe applies if a substantial part of the production happens locally, else the soufflé falls flat; in South Africa, the CMT sector is almost non-existent as the textile-manufacturing industry has dropped from highly competitive to barely surviving. Dr Moloi-Motsepe says, “As a country we have suffered a step back; we’ve lost quite a lot of textile mills, a bit of manufacturing because of the competition of cheaper imports that flooded our country.”

Does it affect what’s presented on the catwalks? Maybe, as the lack of sumptuous fabrics, perfectionism in detailing and consistency seems to be a repetitive pattern throughout the collections presented at the CTFW; and it is sabotaging an industry nonetheless blessed by unsung talents and bright ideas. It is clear that a fashion week makes sense, evident that creativity and imagination is blooming, obvious too that the designers – at least the majority of them – have worked hard and gained confidence over the years.  

If the event has been growing consistently for the past ten years, the collections still do not shout attention to detail, understanding of exacting proportions or authority built through a carefully designed education system; rather, they speak of a last-minute show thrown onto the big stage to the barely-bearable beat of dance music. 

There were some gems in the rough, still. Gavin Rajah handled the Dolce Vita cruise look with a confident hand; his collection reflected the 1950s with panelled dresses, bra corsets, darts on the waist line and sequined boleros all in splashes of pinks and zests of lemon; sported cowboy jackets had embroidered shadows of Fabergé eggs, while flowery blouse atop elegant high-waist wide-leg pants underlined a lanky silhouette; this was serious chic. 

Photo: Gavin Rajah, CTFW 2012, Simon Deiner/SDR Photo

David Tlale’s decision to bring his collection to Rose Street, BoKaap, was refreshing and inviting; the colourful houses were a contrasting backdrop for his very white production of garments. His story, no matter the monotonous cuts and the tedious drapery, was an invitation to silence, slowness and spirituality, a rather interesting take on an otherwise frantic week; the curlers in his models’ hair added some roundness to the angular scenery while the tribal makeup and geometric patches of white paint enhanced the simplicity of the clothes.

Other highlights included the charming Cape Philharmonic Youth Orchestra performance at Stefania Morland’s show and her palette going decrescendo, from bright orange to pale flesh-coloured garments; Kluk CGDT audacity; Lalesso’s daring headpieces and a concerto of adventurous, carefully put together, inspiring styles worn by fashionistas just outside the shows.

Photo: David Tlale in the Bo-Kaap, CTFW 2012 (Simon Deiner/SDR Photo)

Dr Moloi-Motsepe states, “We have to make sure to integrate a pool of designers that are really spectacular and are using unique African designs and bring something different on the global fashion market; not really reproducing what other Europeans or international designers are doing but using local references and doing something that is uniquely African and saleable everywhere in the world.”

But here’s the thing: the pool of designers chosen for this CTFW might have produced “unique” collections or succeeded in being “saleable”, but there was still no real fabric, there were no cut mavericks, no playful takes on texture; there was no one who brought South African fashion into a new era, created an inspiring silhouette or told a story that was really purposeful. This is not because the country lacks talent, but when Stefania Morland presents skirts with hanging threads and garments that clearly have not been ironed, it does not shine a pretty light on the whole industry. And yes, it may be her signature, but it is not a desirable one. 

Fashion weeks around the world, led by New York, Paris, London and Milan, set the bar high; to join the elite world walking the catwalks, designers have to fit the brief without beating around the bush. South Africa, through the lens of the CTFW, seems to be slightly more lenient in its selection process. The next fashion week will be in Johannesburg, from 28 to 30 September, organised this time by South African Fashion Week. It will present another set of designers; and with five fashion weeks in total, jutting out Italy and France, South Africa provides more platforms for designers to showcase their work than the main fashion capitals – long forgotten the blessed principle of less is more.

To be uniquely African is a vast concept; from cherishing local workmanship and its instrumental value to embracing the incredible richness of our cultural diversity, there is a lot to feed designers’ creativity and distinctiveness; but it takes time to channel one’s imagination into a perfect dress, to master the art of cutting, to create a collection like the culmination of one’s talent; till then, a less sybaritic fashion week would be welcome. As Anna Wintour once said, “You either know fashion or you don’t.” And if you don’t, try to avoid showing it off on a catwalk. DM

Main photo: Stefania Morland at CTFW 2012 (Simon Deiner/SDR Photo)

Story first published in the Daily Maverick

http://www.dailymaverick.co.za/article/2012-08-23-chronicles-of-chic-fashion-week-fashion-weak

Chronicles of Chic: Some call it fashion, some call it the epic fight between good and evil

6 Mar
emilie fashion battle MAIN.jpg

South Africa has been engaged in some hefty gender debates lately, and with good reason. But on a more subtle level, the lens through which women are viewed is being bent in a hundred creative ways on the world at large’s catwalks. From powerful women in tailored outfits to models in sexualised positions, from a celebration of the female body to its abuse, fashion itself wobbles between the best and the worst. By EMILIE GAMBADE.

On the morning of Valentine’s Day, one could have been forgiven for wishing that one (South African) part of the split-screen would disappear in the ether of bad, bad horror fantasy. From the bottom of Africa and in the eyes of a fashion reporter, the news was divided between flashes of the New York Fashion Week and the horrible death of Reeva Steenkamp. While some were celebrating women modelling in a creative frenzy of the latest designs by Calvin Klein, Ralph Lauren and Marc Jacobs, braving the blizzard left by the snowstorm Nemo, others were still stunned by the brutal deaths of Anene Booysen and Reeva Steenkamp.

In many ways, the paradox between women being abused, their rights being scorned all over the world, and pictures of models walking down the runway in luxury outfits, heels hammering the floor, projections of powerful and confident women, is rather ironic.

But it is not unsurprising: fashion battles with its own schizophrenia, partly iconic and inspiring, partly domineering. Fashion is pulled between feminism, a plea to empower and beautify women through their clothes and, on the opposite, an ultra-sexualisation of the woman’s body with a tendency to present models as objects instead of human beings. As feminist writer Meg Clark said, fashion is “An instrument of gender oppression and a means to feminist liberation.”

It is, without a doubt, dichotomous; on the good side, it is a symbol of women’s playful self-expression, a tool that can help shape someone’s public persona. Pulitzer Prize winner Robin Givhan explains that “fashion is the way we choose to present ourselves in the public square. It captures whether or not we choose to be on trend, but also addresses those people who have a belligerence towards fashion and are very stern in the announcing of their lack of interest in the subject.”

Fashion could also be a liberation: French designers Paul Poiret and Madeleine Vionnet freed women from corsets and stiff structures in the 1920s, liberating their natural curves; years of social caging suddenly disappeared. Coco Chanel inspired many to think for themselves, “aloud”, offering sportive masculine silhouettes, short haircuts, wide pants that made ruffles and long skirts look very passé. Yves Saint Laurent dressed women in ‘le smoking’ (a tuxedo for women) showing off what the New York Times called a “lavishly moneyed kind” of woman, comfortable in her own pants.

Economically, the fashion industry, mainly the Haute Couture houses, kept shining a bright light on craftsmanship, showing the importance of technical skills and hand-made works. Parisian atelier François Lesage is one example of prestige given to craft. The incredible embroideries added finesse and sophistication to clothes and brought local workmanship back to the front stage, a deep contrast with the today’s controversial trio of fast-fashion, cheap labour and poor quality.

On the darker side, fashion rhymes with gender oppression. Fashion imagery is often scandalous, offering women’s ti(r)ed, battered and strapped bodies to the public eye as a socially acceptable and even desirable norm. Photographer Helmut Newton, the master of ‘porn chic,’ who transformed fashion photography with his breathtaking black and white portraits, depicted a woman that was either a femme fatale or afemme objet. Although men were often seen servile in the background, it didn’t go without some heavy controversy, the idea that a woman cannot be anything else but a sexual object.

EMILIE HELMUT

Photo: The work of Helmut Newton

Last year, Bulgarian magazine 12 made the fashion headlines for choosing disturbing images of battered women for its editorial “Victim of Beauty” in an attempt to present the art and ‘magic’ of make-up. The result was shocking, as the series depicted abused women as possible fashion icons. At its best, it did show how effective special-effects make-up could be. At its worst, it was an outrageous shoot by Vasil Germanov, using violence on women as a possible trend-setting fashion editorial.

Fashion is also the driving force behind a long-lasting stereotype that defines a ‘beautiful’ woman as eternally young and skinny. The ghosts of anorexia still haunt the backstage of fashion weeks, and magazines, although they sometimes welcome front covers with curves and voluptuousness, mainly feature androgynous girls.

Naomi Wolf noted in The Beauty Myth: How Images of Beauty Are Used Against Women: “A culture fixated on female thinness is not an obsession about female beauty, but an obsession about female obedience. Dieting is the most potent political sedative in women’s history; a quietly mad population is a tractable one.” Thinness persists, and millions of women still bend under the weight of their scales, echoing the silent scream of an all-too obedient woman, who wants to please and appeal, prisoner of her own image.

Also on the list of controversies is the use of animal fur, which is a recurrent drama on the catwalks, PETA on the starting blocks of every fashion weeks, buckets of fresh blood in hand. Not to mention the race debates: white firmly remains the new white as seasons go by and racial diversity seems forever forgotten on international ramps; the fashion industry often sparks some heavy controversies about under-age labour in Asian countries.

What about fashion weeks? Apart from being a barometer of international trends, a marketplace for buyers from around the globe, and a recurrent live show for fashion controversies, it sometimes is and should be an epitome of femininity mixed with feminism, a tribute to women’s persona, as they are, ultimately, the clients. Madeleine Vionnet used to say, “The final aim of our métier is to create dresses that make a harmonious body and a pleasing silhouette. It is about making beauty. That’s what it’s all about.” Yves Saint Laurent claimed that what was “important in a dress is the woman who is wearing it.”

This is a concept that shone brightly at some of the collections presented this season in New York and London; the art of empowering women seemed to find its way between feminine and masculine combinations, ample and restrained volumes, round edges and sharp cuts, heavy fabrics and sheer layers. For Autumn/ Winter 2013-2014, designers who managed to dress the woman’s body with attention, engaged in a look that embraced genders’ union.

Timo Weiland in New York showed a ‘strictly comes Manhattan’ look that was extremely flattering. It was boyish without lacking femininity, the yin and the yang combined in blue marine checked pattern, red chiffon and above-the-knee long leather and sheep shearling coats; they added a touch of elegant fun with inverted-bowl-shaped caps by South African Albertus Swanepoel.

emilie timo 1

emilie timo 2

Photos: Timo Weiland

Tommy Hilfiger also played with the feminine-meets-masculine, wide coats floating over the body, empowering women with classic elegance. Victoria Beckham’s voluminous silhouettes and tailored cuts, in herringbone, tweed and tartan were definitely modern, while Max Mara went for wide shapes, men’s coats, pyjama’s style in shades of bronze and deep black.

emilie maxmara

Photo: Max Mara

A similar trend was seen at Alexander Wang, the new fashion ‘chéri’ at the helm of Balenciaga, with elongated silhouettes punctuated with bombers, hooded pullovers in cashmere and long gloves in black fur. At Pierre Balmain and Rag & Bone, the woman rocks, simply, an air of decisive confidence on her shoulders, black leather pants, tailored jackets and pointy boots.

emilie wang 1

emilie wang 2

Photos: Alexander Wang

In London, Paul Smith painted his manly women’s collection in bright colours, pleated pants, men’s shirts and reefer jackets. It was impeccable and casually chic.

Not all shows presented collections with a masculine twist, and the ones that didn’t were still remarkable. But pictures of an urban woman, showing that confidence, spirit and strictness are not mutually exclusive and that fashion and feminism can work, were refreshing and soul-soothing.

emilie paulsmith

Photo: Paul Smith

And then there were the barbarians.

The few designers who thought that caging woman’s body in some impossible outfits or leaving them naked, maybe under the idea that fashion is art, was somehow appealing.

Thom Browne, a relatively low-key designer until Michelle Obama graced the world in one of his coats for last January inaugural day, produced an interesting collection, borderline between the witch from Snow White and a woman jumping out of a geometry book. Shoulders were wide; patterns were straight and in line and roses were red. All in all, his woman looked stiff and stuck in some motionless era. This said, once deconstructed and pieces taken individually, it could work.

Veteran British designer Pam Hogg went for bold outfits, as in loud and extravagant, and uncontrolled hats; imagine an infatuated Chapka in white fur toping up a full body transparent jumpsuit, with bits of bunny hair hiding the chest and the pelvic area. She also was inspired enough or lazy enough to present models in total nudity, pushing the ‘less is more’ to the new depths of meaninglessness. She should have listened to Robin Givhan’s comment: “What’s troubling is when you come across a rogue expression of sexuality or one that is disrespectful or dismissive of women’s power. If you express sexuality without a sense of power and control, fashion enters very troubling waters.”

emilie hogg

Photo: Pam Hogg

Also in London, Ekaterina Kukhareva’s knitwear collection was interesting, but the Desperate Housewives impossible hairstyle and higher-than-high platform shoes seemed fitter to Lady Gaga’s shows than to real life. Women do want to have fun, but not at the price of a broken leg.

After Paris, Johannesburg will host the AFI Fashion Week, from the 7 to the 9 March, and the South African Fashion Week, from 10 to 13 April. In the end, it will be a month and a half of fashion weeks.

“It pains me physically to see a woman victimised, rendered pathetic, by fashion,” said Yves Saint Laurent. In the light of the recent murders and the rise of violence on women, it is more than necessary that fashion stops trivialising women’s bodies, featuring restrained limbs, battered figures as something desirable or even trendy. Our troubled culture doesn’t need fashion to be a bitch; it needs inspiration and respect. Urgently. DM

 This article was first published in the Daily Maverick

#Wanted: Chronicles of Chic (Take Two) Fashion week, fashion weak

27 Aug

Image

Fashion is a merciless fairy-tale; from the small, often ignored studios of designers to the ruthless universe of retail, the competition is uncompromising and the reigning masters are few. Defined by the fashion weeks’ rigorous calendar, from New York to Paris or Milan, the world of what’s en vogue starts on the catwalks of four major fashion capitals. For a while, Cape Town’s been trying to join the party, with mixed results. By EMILIE GAMBADE.

Fashion Weeks are used to showcase the latest collections of inspiring designers around the world; usually split according to Prêt-à-Porter, Couture/ Haute Couture and Spring/ Summer, Autumn/ Winter, the pace is fast and the competition fierce. Magazine editors – the omni-powerful Anna Wintour front-row – local and international buyers, wealthy clients and VIPs of the day attend, hungry and demanding. It’s festive, fast and furious; it’s grandiose and emotional. Every faux pas is eagerly caught and reported by the press and enjoyed by the competitors.

On the 6th of September, New York kicks off the round of fashion weeks, followed by London, Milan and Paris. Months before the shows, prominent fashion houses, owned by Louis Vuitton Moët Hennessy (LVMH), Richemont, Chanel SA and consorts, send their designers or close assistants across the world in order for them to build up their imaginary and mood boards.

For as long as designers could dream, the translation of their inspiration, mainly fed through travels (across the oceans, real or imagined), readings and cross cultural sharing, gives birth to a collection, a mix of traditions and local workmanship; designers are final storytellers, writing with the tip of their scissors, silent lips and magic hands.

In 1947, Christian Dior returned from a trip to the US and drew a collection inspired by the city of New York. Kim Jones, Louis Vuitton’s men style designer, recently used the Maasai traditional Shuka in his Spring/ Summer 2012 collection, some raising their voices to the ‘unashamed’ steal, while others praised his clever references to the bright blue and red decorative African fabric.

A collection tells a story of garments, shoes, hairstyles, makeup and accessories; the power of international fashion houses and their famous designers lies in their ability to write the tales of clothes and an ability to pull women and men into their world, glimpses of exotic places and faraway travels strongly embedded in their unique craftsmanship and savoir-faire.

The story-telling part is essential; a collection must have a meaning, the same way a painting, a sculpture is not done by chance, but the reflection of the artist’s mind; it is the mirror of someone’s very own creative intimacy, an attempt to embellish, dress the human body, turn it into a window to a new world of textures, cuts, tailoring and colours.

Collections showcased at international fashion weeks typically encompass around twenty looks, worn by carefully selected models, focused by an edgy music, the whole spectacle set in a location that should be fitting it like a glove.

Consistently, Africa inspires international designers and covers the pages of international magazines; splashes of warm tones and animal prints, hair like hens lost in the sand. The result, although a combination of western designs created by western hands for the western eye in search of faraway travels and motherland calling, is often beautiful, outrageous; it screams eternal sunshine and colourful fabrics, gold jewellery shining on the arms, heavy bangles worn like armours; African images on international catwalks seems rooted in the Serengeti or the vast lands of the Kruger Park, bright diamonds, ostrich feathers, zebra prints and leather skins symbols of an Africa very à la mode.

But what does Africa look like on South African catwalks? If it is anything similar to what was recently shown on the stages of the Cape Town Fashion Week (CTFW), then the Devil itself is reluctant to wear local.

Twenty-six local designers were presenting, over four days, what South Africa does best in terms of fashion design. Strictly speaking, it should be a proud display of local cutting, tailoring, trimming, all translated into a series of dresses, pants, blouses, shoes etc; and it should be, as Dr Precious Moloi-Motsepe, the director of African Fashion International (AFI) that held the fashion week in Cape Town, explained, “saleable”.

Saleable, because if produced locally, from Cut, Make and Trim (CMT) to retail, a collection can generate a considerable income and be an economic driving force; the 2011 Annual Report of the French National Conference for the Industry (CNI), commissioned by the Ministry of Industry, states that the fashion and luxury industry in France employs 130,000 people with an annual turnover of 34 billion euros; around the globe, the fashion industry was worth 181 billion euros in 2011.

Now, the recipe applies if a substantial part of the production happens locally, else the soufflé falls flat; in South Africa, the CMT sector is almost non-existent as the textile-manufacturing industry has dropped from highly competitive to barely surviving. Dr Moloi-Motsepe says, “As a country we have suffered a step back; we’ve lost quite a lot of textile mills, a bit of manufacturing because of the competition of cheaper imports that flooded our country.”

Does it affect what’s presented on the catwalks? Maybe, as the lack of sumptuous fabrics, perfectionism in detailing and consistency seems to be a repetitive pattern throughout the collections presented at the CTFW; and it is sabotaging an industry nonetheless blessed by unsung talents and bright ideas. It is clear that a fashion week makes sense, evident that creativity and imagination is blooming, obvious too that the designers – at least the majority of them – have worked hard and gained confidence over the years.

If the event has been growing consistently for the past ten years, the collections still do not shout attention to detail, understanding of exacting proportions or authority built through a carefully designed education system; rather, they speak of a last-minute show thrown onto the big stage to the barely-bearable beat of dance music.

There were some gems in the rough, still. Gavin Rajah handled the Dolce Vita cruise look with a confident hand; his collection reflected the 1950s with panelled dresses, bra corsets, darts on the waist line and sequined boleros all in splashes of pinks and zests of lemon; sported cowboy jackets had embroidered shadows of Fabergé eggs, while flowery blouse atop elegant high-waist wide-leg pants underlined a lanky silhouette; this was serious chic.

 Image

Photo: Gavin Rajah, CTFW 2012, Simon Deiner/SDR Photo

David Tlale’s decision to bring his collection to Rose Street, BoKaap, was refreshing and inviting; the colourful houses were a contrasting backdrop for his very white production of garments. His story, no matter the monotonous cuts and the tedious drapery, was an invitation to silence, slowness and spirituality, a rather interesting take on an otherwise frantic week; the curlers in his models’ hair added some roundness to the angular scenery while the tribal makeup and geometric patches of white paint enhanced the simplicity of the clothes.

Other highlights included the charming Cape Philharmonic Youth Orchestra performance at Stefania Morland’s show and her palette going decrescendo, from bright orange to pale flesh-coloured garments; Kluk CGDT audacity; Lalesso’s daring headpieces and a concerto of adventurous, carefully put together, inspiring styles worn by fashionistas just outside the shows.

 Image

Photo: David Tlale in the Bo-Kaap, CTFW 2012 (Simon Deiner/SDR Photo)

Dr Moloi-Motsepe states, “We have to make sure to integrate a pool of designers that are really spectacular and are using unique African designs and bring something different on the global fashion market; not really reproducing what other Europeans or international designers are doing but using local references and doing something that is uniquely African and saleable everywhere in the world.”

But here’s the thing: the pool of designers chosen for this CTFW might have produced “unique” collections or succeeded in being “saleable”, but there was still no real fabric, there were no cut mavericks, no playful takes on texture; there was no one who brought South African fashion into a new era, created an inspiring silhouette or told a story that was really purposeful. This is not because the country lacks talent, but when Stefania Morland presents skirts with hanging threads and garments that clearly have not been ironed, it does not shine a pretty light on the whole industry. And yes, it may be her signature, but it is not a desirable one.

Fashion weeks around the world, led by New York, Paris, London and Milan, set the bar high; to join the elite world walking the catwalks, designers have to fit the brief without beating around the bush. South Africa, through the lens of the CTFW, seems to be slightly more lenient in its selection process. The next fashion week will be in Johannesburg, from 28 to 30 September, organised this time by South African Fashion Week. It will present another set of designers; and with five fashion weeks in total, jutting out Italy and France, South Africa provides more platforms for designers to showcase their work than the main fashion capitals – long forgotten the blessed principle of less is more.

To be uniquely African is a vast concept; from cherishing local workmanship and its instrumental value to embracing the incredible richness of our cultural diversity, there is a lot to feed designers’ creativity and distinctiveness; but it takes time to channel one’s imagination into a perfect dress, to master the art of cutting, to create a collection like the culmination of one’s talent; till then, a less sybaritic fashion week would be welcome. As Anna Wintour once said, “You either know fashion or you don’t.” And if you don’t, try to avoid showing it off on a catwalk. DM

Main photo: Stefania Morland at CTFW 2012 (Simon Deiner/SDR Photo)

Story published in the Daily Maverick.