Fashion calls on nostalgia for the way forward

Fashion calls on nostalgia for the way forward
NEW DELHI: The universal nostalgia that we revel in as an antidote to an uncertain future, manifests itself in a vibrant mash-up with a 1970s and 1980s focus for fashion in Autumn-Winter 2018-19. Whether designers are looking back in order to challenge the world we live in or reclaiming their heady teenage days, it all plays into a wider search for meaning.
For some of us, our teen years had their share of traumatic moments, but the magic of nostalgia means that we can reconstruct them with a positive ending. In fashion, that could mean adding a witty layer of postmodern irony or applying a pair of rose-tinted glasses.
Oriole Cullen, the Victoria and Albert Museum’s curator for modern fashion has this to opine, “A lot of contemporary designers use imagery as a source of inspiration. We are very much an image-based culture, and I think it’s inevitable that designers would be inspired by former fashion.”
Nostalgia in fashion is not a new phenomenon. We can sit far back in the history of fashion, back to the early 19th century, which was a period of rapid industry and change, and see nostalgia for a preindustrial past, based on romantic notions of chivalry. Although nearly impossible to analyse each era’s influence on modern-day design, curators of Metropolitan Museum of Art, New York and Museum at FIT concur that the 19th century is perhaps the era richest in references. From the drape of a sleeve to the placement of a specific embroidery, the 1800s, were the true genesis of modern fashion as we know it today.
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New exhibit pairs

New exhibit pairs Mesa College fashion designers' work with San Diego History Center collection
he San Diego History Center has partnered with the Mesa College School of Fashion and Design for a new exhibit that will showcase work by local fashion students as well as the History Center’s extensive collection.
The exhibit — “Fashion Redux: 90 Years of Fashion” — continues through June 29.
“The History Center’s costume collection includes garments from the late 18th century to the present,” said History Center curator Kaytie Johnson. “Many of the pieces in the collection are singular in that they can be directly attributed to San Diegans, and show lifestyles in San Diego over time.”
Said Mesa College fashion professor Susan Lezear: “Our students are excited to have this kind of exposure and are confident the visitors who see this exhibition will learn something about the fabulous fashion trends that have characterized various eras in San Diego’s past. They will also get an intimate, up-close experience by hearing the stories of the students’ journey from concept to completion.”
Besides the exhibit, a “Fashion Redux Grand Reveal” on April 26 will include a reception, a fashion show and the announcement of the People’s Choice Award.
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What Will Selena Gomez's Coach Clothing Line Look Like? An Investigation.

What Will Selena Gomez's Coach Clothing Line Look Like? An Investigation.
elena Gomez is a woman of many talents. She sings! She acts! She dances! And now, apparently, she designs(!). Yesterday evening, Gomez revealed that she will be collaborating with Coach, the brand she's served as the official celebrity face of for the past year, on a line of ready-to-wear clothing for the Spring 2018 collection. Gomez has previously collaborated on accessories with the label, but this will be her first time tackling clothes for Coach. “I am so excited to be working with Coach again," she said in a statement. "Getting to create my own collection with Stuart [Vevers] has been such a fun process, and I can’t wait for everyone to see what we have been working on over the past several months.”
Now, when it comes to celebrity fashion collaborations, there is a whole spectrum of previous examples, all with varying degrees of success, mass appeal, and just general quality of design. While something like Gigi Hadid's four-season collaboration with Tommy Hilfiger yielded four very entertaining fashion shows and a return to Hilfiger's logo-mania days, we've also seen Lindsay Lohan's outing for Emanuel Ungaro, heart-shaped nipple covers and all. So what will Selena Gomez's Coach collection look like? Let's break it down.
Here's what we know: The collection will be designed in tandem with Vevers, the brand's creative director who has helped transform the brand's New York Fashion Week runway show into a must-see. Already off to a good start there. "I always look forward to designing with Selena because she has a strong point of view,” said Vevers in a statement. “We wanted to bring cool new ideas to the table and I loved getting her take on clothes as much as accessories this time around.” The line apparently also "reflects Gomez’s personal style, and each piece has touches that reflect her personality."
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KARLIE KLOSS SAYS VICTORIA'S SECRET IS STILL RELEVANT

KARLIE KLOSS SAYS VICTORIA'S SECRET IS STILL RELEVANT IN THE #METOO ERAKarlie Kloss believes that the Victoria's Secret Fashion Show is now more relevant than ever before.
In an interview with The Telegraph, the 25-year-old defended the runway show in light of the Time's Up and #MeToo movements.
"There's something really powerful about a woman who owns her sexuality and is in charge," the model told the publication. "A show like this celebrates that and allows all of us to be the best versions of ourselves."She continued: "Whether it's wearing heels, make-up or a beautiful piece of lingerie - if you are in control and empowered by yourself, it's sexy. I personally love investing in a powerful scent or piece of lingerie, but I ensure it's on my terms. I like to set a positive example, so would never be part of something I didn't believe in."
The 25-year-old's comments come after fellow model Adriana Lima declared that she will no longer take her clothes off "for an empty cause" in a candid Instagram post.
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Undercover to Quit Women's Shows in Favour of Men's

Undercover to Quit Women's Shows in Favour of Men's
Undercover's latest women’s show, an ode to the innocence of American youth, was its last — at least for the foreseeable future. Instead, Jun Takahashi, the label’s designer, is putting greater emphasis on his menswear and will begin showing his men's collection on the runway in Paris starting this June with the Spring/Summer 2019 season. Takahashi has previously staged runway shows for his womenswear, while presenting his menswear via a look book.
Although Undercover’s highly conceptual women's shows routinely garner critical acclaim, a small majority of the label’s business comes from its menswear, for which Takahashi has attracted a loyal following.
While I enjoy designing womenswear, for me creating a conceptual women’s show requires designing clothes that are rather extreme. It has been a tricky balance to make women’s clothes that are both creative enough to make a statement on the runway but also wearable," said Takahashi.
“Although it is important for me to make an impactful show, I would also like the clothes I design to be worn,” he continued. “Conversely, I feel like I don’t need to make extravagant menswear to make a conceptual runway show. I also feel confident that my menswear design has improved over the years. That is why I felt ready to do a show at Pitti Uomo,” he added, referring to the menswear show, influenced by Stanley Kubrick's 2001: A Space Odyssey, which the designer presented earlier this season at the Pitti Uomo trade show in Florence. Takahashi’s only other men’s show to date — staged in June of 2009 — also took place at Pitti Uomo.
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Paris’s Fashion Museum Gets a New Director

Paris’s Fashion Museum Gets a New Director
As director of the Palais Galliera for the last eight years, Olivier Saillard elevated the city of Paris’s fashion museum to must-visit status, thanks to programming that encompassed everything from performance pieces by Tilda Swinton to the first Azzedine Alaïa retrospective in the city. So the fashion community was stunned last summer when Mr. Saillard abruptly announced he was quitting in January to become artistic director of J.M. Weston, the French luxury men’s shoe company.
A guessing game about who might take his place followed. In December, the answer was revealed: a relatively unknown Spaniard named Miren Arzalluz.
A political historian by training and Basque by birth, the 39-year-old Ms. Arzalluz had honed her curating skills for eight years as the head of the Cristóbal Balenciaga Foundation in Getaria, Spain. She said she was hesitant to apply for the Galliera post (she had been happy in her most recent job, as director of the Etxepare Basque Institute, a cultural center in San Sebastián).
But she ultimately pursued it because, she said, “this job was really going back to my thing.”
So what is her thing? Here is her explanation:How did you end up in a museum, if you studied politics?
I studied history, worked at a British think tank, earned my master’s in comparative politics at the London School of Economics. It was just after 9/11. The world was in such turmoil. I started going to the Victoria & Albert Museum for fashion exhibitions. Then I remember walking into the National Portrait Gallery bookshop and seeing a whole section on fashion history. It was a revelation. When you study history, it’s to be a social or political historian. But fashion? That was something that I had never dreamt of. I went to the Courtauld Institute of Art in Somerset House for a master’s in history of dress, and fell in love with the subject. I thought: “Oh, this is what I want to do.”
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Is Time’s Up the End of Red-Carpet Fashion?

Is Time’s Up the End of Red-Carpet Fashion?
On the subject of men whose past behavior warrants reexamining in this new era of accountability in Hollywood, there’s one who may be due for a reckoning of a different sort. That would be the man known professionally as Mr. Blackwell.
For nearly 50 years, until his death in 2008, Richard Blackwell—a former eveningwear designer and onetime actor who became famous as an acerbic critic of fashion—published a satiric worst-dressed list that skewered women in harsh terms. He called Barbra Streisand “a masculine Bride of Frankenstein” and once said Meryl Streep looked like “a gypsy abandoned by a caravan,” to give you some idea of insults that, at the time, were treated as harmless dish. “I merely said out loud what others were whispering,” Mr. Blackwell said, arguing that it wasn’t his intention to hurt anyone’s feelings, just “to put down the clothing they’re wearing.”
But in many ways Mr. Blackwell and his colorful quips were precursors to a culture of red-carpet cattiness that flourished over the decades. From the late Joan Rivers and the Fashion Police to gimmicks like the Mani Cam and Glambot, the pageantry of awards season has turned into a form of blood sport. For years there have been protests and plenty of pushback against the inherent sexism of judging women (but rarely men) for their looks, yet very little has changed. Until now.
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