Sometimes you wake up in the morning and feel like just wearing a regular T-shirt, a regular hoodie. And this is nice, it has a message. But are there people who really think that daily wear is a T-shirt with the Balenciaga
logo? I believe if someone is wearing Balenciaga he's doing it to feel special, «I want simplicity, and that's simplicity for me, it's a special, luxurious simplicity». Brand-name clothes are indeed special, but this creates the dissonance between what you expect from a brand and what the brand actually produces.
One of the runway tendencies that I'm thrilled about is diversity, such as Fenty x Rihanna. But this is nothing like hollow Paris-fashion-style at all; Saint Laurent's low-rise denim knee-breeches from the last show
is not about praising beautiful body, but the bad cut. The breeches make the runway model's legs look short and fat. What, pardon me, would they do to a regular person's legs who doesn't survive only on apples for two weeks? If you look at Paris, it is like a ballet school: it implies a rigorous selection of models, designers, show venues. It is most scrupulous with its models; for example, I haven't been sent to Paris because I was too fat to even get a casting call. So I was sent to Milan. At the agency, there were girls with 92 cm (36.2 inch) thighs, and they weren't even allowed to a model casting. They were like caged animals, «You are not even allowed to be looked at». The difference between fashion weeks is mostly cultural; in this sense, the US is more advanced, you'd see a lot more non-typical models at the New York show, for example. Let's say a well-known designer brings an oversize model or a model with a leg prosthetic — that sends a very good message. But I have yet to see them wearing clothes that don't scream «I am a freak». These few shows are ostentatious: «Look how advanced we are».
I prefer Dior
's policy. If we compare the Dior and Saint Laurent latest shows, the former is much more engaging. At the Saint Laurent show, we see five models wearing these denim knee-breeches and some kind of black blazer. One has a velvet blazer, another a sequined blazer, and yet another one has a plaid tweed blazer. That's your new collection, is it? And then there's Dior, presenting their dresses
that everyone, me included, is sick of. And yet, truth be told, these are the dresses I would love to get married in. Dior skilfully reinterprets the 1950s silhouette; it's a good example of the revitalization of an old look. They are still changing the design: it looks like the same outfit, but the fabrics, the cuts are different… Around 2016 we had sheer dresses with corsets, and the same thing this year, but with denser fabrics. Skirts have different cuts, different lengths. New accessories.
My attitude towards Versace
is special. The brand doesn't portray itself as «ugly fashion», of course. It's not ugly, they sincerely believe their clothes are pretty. So do the people who wear these bomber jackets
, black with a golden pattern… We can trash any show, of course. Or we can say «it was the designer's intention», that he had some sort of idea in mind. For me, what we see here is tastelessness that stays afloat only because people know a Top 5 brands, and Versace is one of them. When I hear «Versace», the thing which first comes to my mind isn't one of the few pretty nice things they made, but the patterned bomber jacket with chains. When I mention Dolce & Gabbana
? Dolce & Gabbana do have good stuff as well, and I instantly imagine their ridiculous chick with a crown
. And I lose the desire to say anything good at all — every year they make this crown!
T-shirts with a logo, repetitive of themselves and «trash» — these are the trends I see «on the runway». The bid for «iconic simplicity» turns out to just be an oversimplification. Why would they make something pretty if they can make the logo-ed T-shirt? Same thing with the cuts. Yes, «there's nothing new under the sun», but it seems some designers have been «re-interpreting» to the point of exhaustion and confusion and so they apparently decided to not bother at all. Brands work for clients and sales, and not for the sake of art. Producing hackneyed, well-recognized, and, as a result, easily sold clothes, is a tried and true way to make a pretty penny without losing face or putting in too much effort. Masha Valmus
translated by Marina Bazarnaya
edited by Meighan Winner