1920's A Decade of change

If there is one concept that defines the twenties it is freedom and change, post WWI  optimism took over every sphere of human activity and sparked incalculable alterations, most notably for women who began to find their voice and express themselves more than at any other time in history. During this decade women liberated their bodies from constricting clothing and moved into the modern era with a daring fashion revolution that signalled the start of the roaring ‘20’s, fragments of which exist in our wardrobes today.

   The transition into this brave new fashion world was rather a slow one, reluctance to adopt the radical celebration of style and individuality was replaced by a passionate embrace of the innovative by 1925. Silhouettes became boyish and young as breasts were flattened with bandeau bras  and corsets were abandoned in favour of loose and comfortable clothing. The garments that were now free of restriction possessed a distinct awareness of the body enabling subtle emphasise of the woman underneath. For the first time in centuries women showed leg lightly covered by silk substitute rayon stockings. These were visible as a result of raised hemlines to knee or calf length, skirts utilised slits and pleats to allow movement, particularly ideal for new dance styles such as the Charleston. Twenties fashion was undoubtedly bold and the term ‘flapper fashion’ became used to describe and represent women who had attitude and projected it as they adorned shorter skirts or even trousers, pouted ox blood lips, Eton cropped their hair and openly consumed alcohol.

   The fashions and styles of this exhilarating decade were carefully carved out by a number of designers that were exceptionally popular at the time, Jean Patou, Elsa Schiaparelli  and the late, great Coco Chanel. Chanel remains inspirational and admired, during the twenties she was the epitome of ‘flapper’ and promoted it with a passion. Her silhouettes were soft and fluid as she worked primarily with jersey fabric but without corsets or waist definition, the use of neutral tones such as cream, navy, black and sand created a simplicity that captured the palpable essence of the decade.

   It was a time for ideas and image reinvention that enabled the forward looking woman to possess a new kind of style as they constructed a vision of themselves that entwined their personality with the fashions of the time. One of the most appealing looks of the twenties was the cloche hat over cropped hair, made incredibly popular by actress Louise Brooks, this accessory was initially a radical one however as the forehead  became unfashionable the cloche hat became standard by the end of the decade. Footwear was completely revamped and the twenties brought exciting changes as shoes were finally acknowledged as a fashion accessory. Now that footwear was on display beneath shorter skirts or wrap over coats they began to appear as much more striking statement pieces that have influenced the styles of today particularly ankle straps and peep toe heels.

   The twenties were certainly a decade of immense change in many ways, the explosion that came after the war was a joyous one affecting ideas and opinions the world over. Nothing was left untouched by the tangible mood which was one of liberation and positivity. The face of the fashion industry would never be the same again and we were now blessed with the works of some awe inspiring designers. The immense power, excitement and style that originated during the twenties was a profound historical event that paved the way for female independence and celebration of the body and individual identity.

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IRVING PENN June 16 1917 - October 7 2009

Irving Penn was undoubtedly one of the worlds most extraordinary men, an outstanding 20th century visual artist who lived his dream and had a sensational career spanning seven decades. Penn never lost his creative brilliance, his vision or his ability to capture and convey the beauty and simplicity of the world and all the objects within it. This genius is encapsulated in every photograph he ever took whether the subject was a celebrity, aborigine tribesmen, cigarette butts or San Francisco hippies the images projected such deep and powerful emotion that his work became incredibly distinctive. Penn wanted his work to speak to its viewer and initiate reaction, he gave his photographs all of the passion, energy and creativity he had within him so much so that he revolutionised the fashion, art and photography worlds and became immortal as his work will last through the ages.

  Penn discovered at an early age that he possessed artistic talent and attended the Pennsylvania Museum School of Industrial Art from which he graduated in 1938. One of his first career achievements was having drawings published in Harpers Bazaar which was and still is one of the most popular and influential fashion magazines in the world. As Penn evolved gaining understanding of visual communication and the effect it has on the public his career as a photographer blossomed. He initially became known for post World War two feminine glamour images before venturing into fashion photography particularly for industry leader Vogue magazine during the early 1940’s. In 1944 Penn left Vogue to join the US military in Italy and journeyed to India where he developed his skills. Vogue welcomed him back in 1946 to continue his unorthodox yet inspiring fashion work and undertake travel assignments, his association with this publication would last for many years.

  In 1953 an unassuming plain studio in New York opened its doors and Penn turned his attention to portraiture adopting a rarely used technique that would see him become a pioneer as he was able to use it more effectively than any other photographer. Subjects pose against simple white or grey backdrops, carefully organised even sometimes unusual arrangements were used to create striking composition and a calm, skilful and focused approach fused with soft and sensuous natural light became a recipe for greatness. By photographing for hours at a time Penn was able to allow a relaxed subject to open up and truthfully reveal the secrets of their souls through emotion and expression, as a result each image contains the energy and personality of its focus. Penn’s photographs had deep meaning, his feelings, nature and appreciation for natural beauty leaked through the lens and every click of the camera was purposeful, honest and always had the viewer in mind. In a 1991 interview with the New York Times he explained that he was constantly trying to ‘intrigue, stimulate and feed’ the spectator. This is evident in the way that his images evoke curiosity, penetrate your thoughts and entice you by drawing you into them with warmth, sharpness and detail. It is this unique creative power that has ensured Penn’s place as a master of photography, he has inspired others to attempt the technique he championed  and  many have continued his legacy by exhibiting his images or publishing books to celebrate his life’s work.

  An impressive career was only one aspect of Penn’s life, he was blessed with a happy personal life and loving family that had a profound impact on what he created. Irving Penn fist met Swedish model Lisa Fonssagrives at a fashion shoot, the two were married in 1950 and Lisa, his soul mate and collaborator for 42 years remained his favorite subject until her death in 1992. The couple had one son, Tom Penn now a respected designer and Mia a daughter from Lisa’s previous marriage. Irving Penn passed away on 7th October 2009. It is important to recognise and celebrate the remarkable achievements of a phenomenal man who’s lifelong commitment to beauty and excellence will never be forgotten.

P.S - This piece was part of my portfolio for Uni, i just found it and remembered how much i enjoyed looking at Irving Penn's work and writing about his life.

Is seasonal fashion obselete?

There is a certain amount of confusion - even in fashion - about cruise/resort collections.

Designed to give a preview of what’s hot in terms of new trends, cruise collections that were once considered quirky between season shows for wealthy vacationers, have recently risen in popularity and become much more relevant to the consumers of today. Now everyone and their diffusion line has a cruise collection. Chanel, Dior, Gucci, Marc Jacobs, and Ralph Lauren all offer full on cruise/resort ranges that rival their spring and fall shows. The reason for this is simple; the traditional seasonal schedule might have made sense before - when magazine editors needed half a year to digest, report, and print their coverage of each season. But technology - Facebook, video streaming, and blogs - has changed that forever. The new generation of fashion followers see collections the very moment that editors and buyers do and are increasingly demanding instant accessibility. As a result retailers and seasonal influences are getting all muddled. 

Of course, disrupted weather patterns in the wake of climate change also play a part in consumers’ struggle to dress appropriately while being restricted by the seasonal offerings from designers. The amount of choice in fashion has increased and as Topshop present alongside the likes of Burberry and bridge the gap between high street and designer, the industry is showing a desire to cater to all tastes and budgets. This is a positive step forward but consumers need designers to deliver practicality, seasonless pieces that provide style and flexibility in everyday life. With this in mind, a move to a more retail-oriented schedule seems almost inevitable. Harriet Quick, fashion features director of Vogue UK, said: "I think we'll start to see a move toward what you could call all-year clothing”.

Designers need to start focusing on a strong annual collection of trans-seasonal garments and suggest micro trends tailored to season through their cruise collections. But, whether this change will alter the allure of fashion and when shows should take place are questions that spark confusion and debate among the fashion elite. Marc Jacobs feel the shows are “timed just fine”, while others see Cruise as experimental and are keen to deliver to consumers as quickly as possible. Ralph Lauren had great success with "direct-to-consumer" shows, from which the fashion savvy could purchase items online; immediately after seeing the presentation. Tommy Hilfiger wants to move in another direction with two shows for every season - one for trade and one for consumers. “The small guys,” he said, “wouldn’t be able to afford it. But the larger, global brands would benefit.”

Best known for overtly political T-shirts and campaigning for ethical consumerism British designer Katherine Hamnett, believes that, “if the designers cannot agree and the industry does not adapt, it will not survive.” "The entire clothing industry is upside-down right now, and has been for some time," she said. "We have bikinis being sold in January, and fur coats being sold in August. It's bonkers".
 

Soon, a truly global, all-weather lifestyle could be within our reach. Cruise collections will give literal meaning to the phrase ‘fashion forward’ and are the key to designers showing responsive and innovative commitment to securing the future of the fashion industry.   

P.S - This post and and 'Drag is the designer drug' are my contribution to UCA's Bespoke magazine. Check out the blog at  http://bespokemaguca.blogspot.com/ and our facebook page at   http://www.facebook.com/BespokeMagUCA  

Drag is the new drug

Industrie magazine presents its latest cover star "Mrs Jacobs”. Of course it's Marc Jacobs in drag showing off his own dresses, handbags, heels and coats. 

Jacobs, 47, Creative Director of the world’s largest luxury brand Louis Vuitton and head designer of Marc Jacobs has become one of the most powerful and recognisable figures in fashion. He has always refused to succumb to the norm, since his “outrageous” 1992 Perry Ellis grunge collection to this year’s fragrance ad campaign for which he wore nothing but a bottle of ‘Bang’. At his latest Louis Vuitton show in Paris he told The Times “when everyone is trying so hard to address what they believe is the modern woman, and what she needs and what she wants, I think it’s great to say ‘F*** that, it’s boring’. I’d rather be camp. I’d rather be decadent. I’d rather go out and shine and be loud”. 

The boundary breaking image was the brainchild of British stylist, Katie Grand who approached Out magazines ranked 15th “Most Powerful Gay Men in America" with the idea that he should model the clothes himself. They were a perfect match as she frequently uses cross dressers in her shoots and he personally tests much of his Womenswear collections. Jacobs has said “I always go nuts when women go, ‘oh men don’t know what it’s like – women in heels, women in skirts, women in dresses- what it’s like to suffer fashion”… “I can show that I, too, will suffer for fashion”. The cover, shot by Patrick Demarchelier, shows Jacobs in a fake wig but with real stubble wearing a fur coat from his 2004 collection, leopard print courts from 2006 a wide brim hat from 2007 and Prada “flash the thigh” stockings. 

The designer is not the only famous face taking on a feminine alter ego for the camera and as exploring identity becomes embraced and accepted the industry comes alive with new talent. The recent success of the first ‘tranversal’ magazine Candy – a publication dedicated to celebrating transvestism, cross dressing and androgyny – have used cover stars Luke Worrell and James Franco to encourage people to adopt the persona of who they want to be. The Gentlewoman features photographer Inez Van Lamsweerde posing in ruffles, ribbon bows and a black beard and Givenchy designer, Ricardo Tisci, cast transgender model Lea T, for his autumn ad campaign. The beautiful Lea T has since appeared across fashion magazines, campaigns, appeared in a nude shoot for French Vogue and has booked a place on Oprah’s famous couch. 

 So as the fashion industry brings drag out of the closet, the question is…are you man enough to be a woman?

Images from - styleite.com and beautyandthedirt.com