Throughout the history of contemporary fashion there has raged a recurring debate about whether fashion is a form of art.
Covid-19 has raged through America and the rest of the world for a while now, allowing for a lot of so-called reflection from the fashion media.
With each video I watched, the same questions kept popping into my head. What exactly am I supposed to review?
I am straight. This must be stated for the purpose of this article, because it’s about my history of buying women’s clothes.
It’s August, the lull before the storm of the fashion month that will start in early September in New York and will end in early October in Paris.
During this past fashion show season one of the most talked about collections was the runway debut of Bottega Veneta under its new creative director, Daniel Lee.
Last year the blogger Venkatesh Rao coined the term “premium mediocre.” He was referring to a segment of economic activity largely dreamed up by marketers to give the consumerist masses an illusion that they are consuming luxury, when they were doing nothing of the sort.
The recent scandal involving the staff at a Balenciaga corner at Printemps, the Paris department store, in which it allegedly discriminated against a Chinese shopper, is reprehensible in its own right.
This year amidst the usual barrage of “news” about collaborations, must-cop listicles, and the importance of Dad sneakers, a few articles in the press aimed at fashion and streetwear actually tried to address something worthwhile, namely, what’s happening to today’s youth, specifically in the cultural space, and even more specifically as it relates to style.
New York Fashion Week has become such a dispiriting spectacle of banality and celebrity entertainment that I did not go a single show. So, on to Paris, the home of real design, or, more accurately, a place where real design is shown.