- ARTPOP FASHION
“All that ever holds some body back, I think, is fear. For a minute I had fear. Then I went into the dress ing room and shot my fear in the face.” Lady Gaga Applause is here. ARTPOP has begun. A new era has started. Within this new publication of GAGAMag azine we’re discussing all things Applause. All the new projects Gaga is working on, the collaborations, the news and music. The reception and impact that we are receiving as a publication is slowly growing thanks to all of you dedicated monsters and we want to thank you. Thank you for buying this publication and helping the Born This Way Foundation. We need to thank everyone who helped put this issue together, to everyone behind the scenes you will receive a special mention. Without the great team that we have the magazine would not be in existence, so thank you.
The Team B Kelly - Editor L Poultney - Sales Director S Stegman - Journalist R John - Fashion Writer C Constable - Journalist S Skaare - Journalist K Godwin - Journalist
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cene: Saturday, August 24th, approximately 2:30 am; somewhere near Central Park in New York City. The black Escalade pulls up to our left and we hold our breath in nervous excitement behind the metal barricade. We look at each other in disbelief- “Is this really happening? Weren’t we back home in Canada just this morning?”. The side door opens and a woman steps out, all dressed in black, keeping her back to us. She faces the Escalade and we all hold our breath, fifteen or so people shuffling quietly and only speaking in whispers. Just as we’re speculating this mystery woman’s identity, the front passenger door bursts open and Lady Gaga gives us a mission- “These are the boots that I’m wearing at the VMAs tomorrow, and I want you all to touch them for good luck!”. She clutches a pair of fabulously bedazzled black boots that sparkle with her every movement. She wears long, elegant black flared pants with a haute couture version of the kind of heeled boots that one might find at Sexapalooza back home. Her chest and torso are covered in a layer of glittery gold dust, which sparkles from under her black blazer and shines through the lace of her black bra. Her face is makeup free short of red lipstick and she wears round black sunglasses even though it’s been pitch dark for hours. On her head, she wears a black cap, similar to the one in her Pierrot-esque Applause cover photo. As she comes towards us, she touches the cap and says “I’m sorry I don’t have any hair on, I’ve been rehearsing”. She walks directly to where we’re standing and holds the boots out for us to touch. She visits briefly with each person, taking pictures and signing autographs, and her voice is a little raspy, likely a result of rehearsing ten hours a day. Once we’ve finished showering her with well wishes and lucky touches to the boots, she is whisked into the building by security, blowing us kisses and wishing us good night. This preludes our VMA experience in Brooklyn, New York. We’d been designing our costumes since before we even bought the tickets. On August 7th, tickets went on sale to the general
public on Ticketmaster. We sat ready and waiting to get the best available seats, but when we tried to check out, we were informed that they couldn’t be purchased without an American address. We immediately began scouring re-sale websites, finally purchasing the same 200 level tickets we’d had originally, only slightly increased in price. With our tickets in hand, we arrive at the Barclays Center dressed to make it known that we’re there for Gaga. All the way to the venue, through security, and as we wander to our seats, people pass us shouting things like “Hey Lady Gaga!” or singing Gaga lyrics to us. Several even ask us to pose for photos. We’d known that not many others would be dressed up, but we didn’t realize that we would literally be the only people in costumes, short of the performers themselves. As we take our seats, we soak in the view; a giant silver MTV moon man stands at the back of the arena, and a DJ blasts music to entertain the crowd. Two smaller stages stand amidst the people with floor seating, and the main stage, which features two blown up columns lit up to look like metal, is already set up for Gaga’s opening number. We are directly across from the celebrity seats, and we can already pick out well known faces; we recognize Taylor Swift, Selena Gomez and Macklemore. As we are enviously admiring those with a direct view of the stage front, we see movement to the right and realize that we have a full view of backstage. We have the unique opportunity of seeing Lady Gaga and her dancers fitting in a last minute practice before their performance. They are dressed head to toe in black, wearing unitards and black caps like the one that Gaga wore to greet us the night before. We see one shorter figure mingling and hugging the others, and we realize that it’s Gaga herself. The dancers stay focused and review the number until the very last second. We watch as Gaga is draped in a long white robe and white headpiece, but we can’t distinguish the details precisely from this distance. As she is escorted to the centre of the stage, the countdown begins on a big screen and our anticipation becomes unbearable.
Suddenly Gaga’s face fills the screen surrounded by white, the camera focused close so we can see her expressions clearly. She begins singing the operatic introduction written specifically for this number. Her eyes are wide and she stares intensely into the lens. As her melody finishes, recorded ‘boos’ and shouts of “Lady Gaga is over!” rain down on the crowd. The camera pulls out to reveal that the white background around her face is actually her large square headpiece. The intro to “Applause” begins and her white robes are ripped off to uncover a black sequinned catsuit and black cap to match her dancers. We scream ourselves hoarse as she changes wigs and outfits four more times and we realize she’s taking us visually through each era of her career. We recognize the original white robe as being reminiscent of the one worn during her performance of “Bloody Mary” at the Born This Way Ball. Next, she alludes to The Fame, donning a blue sequinned skirt, blazer with shoulder pads, and a blonde bobbed wig with blunt bangs. Stripping this off, she quickly references the art of Jeffery Koons using a blue ball to denote his iconic Gazing Ball, coinciding with his mention in the lyrics of “Applause”. Surrounded by dancers once more, she transforms into the Gaga of the Fame Monster era, sporting a bright yellow wig like that featured in the Telephone video and throughout the Monster Ball Tour. Her face is smeared with coloured paint to simultaneously represent ARTPOP. Engulfed by the dancers one last time, Gaga is revealed wearing the seashell bikini and wavy brown weave featured in the “Applause” video, and this finale costume is met with wild screams and cheers from the crowd. Right until the end, the choreography is executed beautifully, the vocals are incredible, and the message is clear: Lady Gaga is back! The performance concludes with the elusive ARTPOP hand motions that monsters have been practicing since the video premiere of “Applause”. The crowd goes crazy, and we scream loud enough to elicit alarmed looks from those around us. The second Gaga exits the stage, we begin scanning the celebrity crowd for a glimpse of her. We have no idea what she’ll be wearing or what her hair will look like, especially after this performance, and we’re far enough away that we mistake a seat filler for her more than once. Finally, we see her strut to her seat accompanied by Richy Squirrel, and we’re excited to see that she is wearing only her seashell bikini, wavy weave, and the very boots that we had touched for good luck the night before. We joke that the boots
had worked their magic well, and we spend most of the duration of the show drinking in the sight of a happy and healthy Gaga. She is laughing and socializing, charming those around her, and dancing in her seat. We’re especially entertained when we see her jump out of her chair to cheer for N*Sync. The energy she gives off is nothing but positive, and we acknowledge how well she puts into practice her recent mantras of “respect the artist” and “stop the drama, start the music”. We enjoy the other performances knowing that competition isn’t as important as appreciating the art of music. The only damper on the energy in the room comes with the unnecessary booing of One Direction upon accepting their award for Best Song of the Summer. People in our section boo loudly and we’re disappointed to see such negativity. We comment that the audience’s behaviour is inappropriate, regardless of how you feel about someone’s music. Shortly after, we observe Gaga turn and speak to Richy, and then pick up her drink and leave her seat. Paparazzi flashes follow her backstage and we wonder where she’s gone. We speculate excitedly about a surprise award presentation, but she never comes back. Only after do we learn that she left in response to the crowds’ booing of One Direction, and read about her kind words to them backstage. We’re happy to see once again that she exemplifies what she tells her fans; that music really should be about the love of music.
“I’m sorry I don’t have any hair on, I’ve been rehearsing.” We leave the venue feeling happy, thankful, and a little disbelieving that we actually got to witness such a strong comeback performance, especially since we were both at the last bittersweet Born This Way Ball date. We’re impressed by how Gaga has managed to use both “Applause” and this performance as a tool to express multiple things. On the surface, both are simply about good music, catchy enough to please the masses and to provide entertainment. Beyond that, however, is a strong message to her dedicated fans; this song was written for us, and this performance, with its’ subtle references to her own work, are intended for those who have supported her over the years and will continue to invest their love and applause in her and her art. For us, this experience was so much more than witnessing a “VMA comeback”. This and the sentiments expressed through “Applause” validate that, even through what seemed like disconnection from both the spotlight and her fans, Gaga keeps us with her always. “We could, we could belong together”. Written by Courtney Constable and Sarah Skaare (Contact info for Courtney: courtneydconstable@gmail.com; for Sarah: sarahkate55@hotmail.com)
THE SONG SARA STEGMAN For months, Little Monsters have waited for the start of the ARTPOP era, speculating over the videos, costumes, what the tour would be like, and most importantly the music. ARTPOP was announced with a promise that this would be a new and different sound for Gaga leaving everyone in anticipation for the first single. By late July we had the final official word that the first single would be titled Applause, fans were only given small snippets of the lyrics to satisfy them until the official release which was suppose to be August 19; however some simply could not wait and several leaks began to appear including a demo of another possible song called Aura. The leaks for the song Applause itself were small and many to be reported of poor quality however could be confirmed by the lyrics. After one long weekend of trying to stop anymore of the song from leaking out, Lady Gaga made the decision to release the song a week earlier than originally intended much to the surprise and excitement of Little Monsters everywhere. The song was played on a few radio stations which could be listened to via live stream, later on that evening and well into the next day the song was gradually released for purchase on sites such as iTunes. In an interview with American radio host Ryan Seacrest given shortly after the song’s release, the lyrics of applause where said to be inspired by the final leg of the Born This Way Ball tour when Lady Gaga was dealing with an injury but still wanting to preform and the interaction with fans, while eventually that injury would force the tour to be cancelled the drive Gaga had for the applause would inspire the new single. The Ap plause describes Gaga standing up to critics of her music and living for the performance, living for the cheers and screams of the audience and finding that place for herself in the realm of art and pop culture. The music itself has an electronic vibe while still containing a very club friendly sound that for many feels reminiscent of earlier songs from the Fame Era, the music builds on itself with each verse before becoming almost like an explosion at each cho rus giving the song a larger than life quality; the song also feels al most layered with several levels of electronic sound, bass, and maybe even keyboard along with the actual lyrics and an underline where the word applause is actually spelled out during the chorus. Overall Applause sounds in a way both modern and retro with a very powerful and energetic sound that feels unique especially when paired with its dark and energizing lyrics making the song sound and feel like a bolt of pure musical energy.
I CAN FEEL MY HEART BEATING IN YOUR HANDS MY AURA AND YOURS MEETING IN THIS DANCE PULL THE TRIGGER IM READY ITS SHOWTIME.
It’s been months since any fresh Gaga material, the start of the ARTPOP era has just begun, monsters are hungry for anything they can get their paws on- then a leak occurs, its effect; astronomical. Yes, we’re talking about ‘Burqa/Aura’. The internet imploded, the leak broke web records and sent the Twittersphere into turmoil. The 3 minute 55 second track known as ‘Aura’ or ‘Burqa’ filled the void that monsters and the world needed from Gaga. In the weeks just before the release of ‘Applause’ the leak allowed monsters to go crazy and ultimately promote the release of ‘Applause’. The influence that Andy Warhol has had on Gaga’s career is evident through her referencing of the new album title ‘ARTPOP’. The
influence may also divulge onto the tracklisting of the highly anticipated album due for release on 11/11. Warhol spoke of ‘Auras’ in his book ‘The Philosophy of Andy Warhol’ under the section of ‘Fame.’ Warhol commented: “Some company recently was interested in buying my “aura.” They didn’t want my product. They kept saying, “We want your aura.” I never figured out what they wanted.” The Aura/Burqa leak streamed onto the web on August 6th - Guess who shares their birthday with this date? Yes, Warhol. The leak has been speculated by many monsters who believe that Gaga actually leaked the track herself, this is not a certainty and is only rumour. The track however reportedly broke Google records. Its official leak was at 9:28pm EST, in just 10 Minutes the top 5 searches of Goog le were “burqa lady gaga, lady gaga burqa leak, lady gaga leaked song, burqa gaga” within the first 6 minutes the search went from 430,000 Results up to 2.4 Million. An Australian radio station then played the leak on air, this sent the searches escalting to new records of 5.8 million Google searches in 10 minutes. These figures have not been firmly establish by Google itself, however the effect that Burqa had online was monumental. The lyrics of the songs have been speculated over by monsters across the world, distributing duplicate meaning of the leak. The Islamic definition of an ‘Awrah’ is as follows: a term used used within Islam which denotes the intimate parts of the body, for both men and women, which must be covered
with clothing. Exposing the awrah is unlawful in Islam and is regarded as sin. The exact definition of awrah varies between different schools of Islamic thought. The speculation transgressed into a song of sexual empowerment, how women are changing in society to become “Women of choice” as Gaga belts out during the track. The chorus allows us to interpret the female narrative of the song as a symbol of sexual emanticipation through the several questions asked. ‘Do you wanna see me naked, lover? Do you wanna peak underneath the covers? Do you wanna see the girl who lives behind the aura? Behind the aura Do you wanna touch me cosmic lover? Do you wanna peak underneath the covers? Do you wanna see the girl who lives behind the aura?’ Imagine this - Gaga + Beyonce in the desert in the ‘Pussywagon’ dancing in burqas. It’s a possibil-
ity, What if the leak just happens to be a ‘Telephone’ continuation track and Beyonce hasn’t had time to record her vocals yet? Maybe Gaga has killed Beyonce in order to save herself? Okay, let’s stop dreaming. But the opening verse does have connections with the Telephone video.
‘I killed my former and left her in the trunk on highway ten Put the knife under the hood, if you find it send it straight to Hollywood.’ The track ‘Americano’ from the previous Gaga album Born This Way also had a similar feel to the track. Gaga has said that there is in fact a song called ‘Burqa’ in the mix for selection for ARTPOP. Joe Germanotta has also said that his favorite song from the upcoming album is in fact a track called ‘Burqa’. It is unknown if the leaked song is from ARTPOP or if it is just a leak. I believe that Gaga will continue the motifs of Aura/Bur-
qa into the ARTPOP era as many tracks of her previous discography have been songs about human empowerment such as ‘Scheisse’ and ‘Born This Way’. In other Gaga news, another leak emerged. The duet ‘The Greatest Thing’ with Cher managed to work its way online. The song happens to be a duet with Cher and is one of Gaga’s old unreleased songs from the ‘Red and Blue’/ Pre ‘Fame’ era. Speculation has arrived over the song as it is very unlike the previous demo in which Gaga released many years ago. The song is very upbeat and 80’s disco sounding. Gaga did comment on the track saying that she did not like the way her vocals were edited on the song and that is why the release date was pushed back. The song is only a demo, but has great potential, if you haven’t already go and check out both versions of ‘The Greatest Thing’ and ‘Burqa/Awrah’. This article has been written by B Kelly
A-P-P-L-A-U-S-E: The Video By @kikimcheeky2 When monsters found out that the single APPLAUSE and the APPLAUSE VIDEO were going to be released on the same day there was excitement of epic proportions. Not only would we have new music after a tortuously long wait, but we would also have a visual masterpiece to watch over and over until every dance move was perfected, every outfit designer was known and every metaphor understood. Then there was the leak. Gaga’s POP MUSIC EMERGENCY gave us the single a week early. We all devoured the music and the lyrics. Pop perfection. But that also gave us a week to speculate what the video had in store for us. Gaga took to twitter to give us a few clues: “A MusicVideo where B+W and Color battle in a bid for your Applause! – GAGA” and “Its inspired by the entertainers passion for shapeshifting. Would you do ‘anything’ for the Applause? Iconography in motion, as magic. –GAGA” In these two tweets, Gaga told us more about the video than we realised. Black and white vs colour was just an introduction to the concept of duality, a theme which we would later find out was to dominate the video. On August 19th we were finally able to see what happens when the brilliant minds of Inez and Vi noodh, Gaga, Marla Weinhoff, Perry Meek, Brandon Maxwell, Richy Jackson as well as many oth ers come together to make ARTPOP. The APPLAUSE VIDEO was everywhere from Youtube
to Times Square and monsters couldn’t be happier. There is so much goodness packed into that 3 minutes and 35 seconds that it’s hard to even know where to begin, so I will start from the beginning. The first image we are shown is of Gaga with skeletal like wings dressed in all black on top of what looks like a city skyline. My first thought was that it was a painterly image of death or a black angel, descending back to earth. Death being reborn perhaps? Life and death- the ultimate example of duality. Later in the video, this version of death comes back to life on a catwalk. Not only is this scene a tribute to Alexander McQueen’s 2008 spring/summer runway show, but it also shows us how Gaga uses fashion to bring each new version of her self to life. We are then taken to a few scenes of Gaga in lacey black lingerie on a mattress on the floor of an empty room. Her look in these scenes takes us back to pre The Fame days when she was still known as Stefani. The mattress and the movements she is making on the mattress seem to be symbolic of several things. Firstly, we have seen her take us back to this time in her life before, in the Marry the Nights video. She gets the worst news she has ever received in her life while lying on her mattress which is on the floor of her LES NYC apartment. It was an ending, a dark moment for her, but without this dark moment Gaga would have never been born. In this sense the mattress on the floor symbolizes both an ending and a rebirth.
Bringing this concept into the ARTPOP era, with the movements that she makes on the mattress and the fear and hurt in her eyes, this scene also seems to tell us about her hip injury and her recovery. She is scared, but is slowly able to dance her way up from the mattress, from her dark place, back to a place where she is happy being both Stefani, the girl she was, and Gaga, the person she has grown into. For me, the mattress scenes are the most important in the video because they tell us about the place where Gaga is now in her artistic revolution. She is ready to create, to be reborn, to ‘shapeshift.’ We are then thrown into a swirl of colourful images punctuat ed by moments of black and white. Each image is significant in its own way, depending on who is viewing it. When black and white Gaga spins towards us in a cauldron with smudged eye makeup, dodging knives, perhaps she is showing us what it like to constantly be critiqued and how she avoids these ‘knives’ and ‘daggers’ being thrown at her by the critics. The cauldron perhaps symbolises the element of magic in her artistry that keeps her safe from these critics, the magic being her fans. Tying into the theme of magic, there then is a colour filled magician’s hat scene. The hat is her own, indicating she is the magician, but she is also coming out of the hat, half human, half fantastical- indicating she performs her own magic on herself. She is the magician and the magic trick. She is the canvass. Then the blonde wig appears. The Fame Monster wig. She is wearing it while trapped in a cage. Possibly she is trying to tell us that although The Fame Monster was a very successful point in her career, it was a time in her career when she felt trapped. She had literally created a monster, everyone wanted her to stay as this version of Gaga because it fit a mold, but she was ready to evolve again, she didn’t want the media to dictate who she was. She summarised this concept well in one of her many lyrically different performances of Princess Die “If they treat me like a clown, I will become Vuitton Brown,”
In that specific lyric Gaga uses the word clown in a negative way, but in the APPLAUSE video she puts a positive spin on the word in order to represent the meaning of the song. In another black and white scene she is dressed in head to toe black with a billowy white cape, paying homage to the evolving iconography of Pierrot the clown. To contrast this image she can also be seen in what she has described as jester make up smudged artistically across her face. In interviews, Gaga has eluded to the fact that, as it was the jesters job to please the audience, so it is her job to please her fans and that she is willing to undergo several transformations in order to do this. And transform she does. She becomes her art. She becomes a black swan. She has already paid tribute to the artist Jeff Koons in the lyics of her song, but now she also does this visually with a tribute to Koon’s famous swan balloon sculptures. Again she is telling us that she is the canvass for which her art is going to be displayed and that she will continue to transform and be reborn in order to please us. The choreography scenes in the video are as delicious as Jean-Charles de Castelbajac ‘glove-kini’ bra that she wears while performing it. Here we can see that she can dance again, she has healed and craves the APPLAUSE again. She is putting her art back into our hands. Gaga reveals to us some of the emotion and determination it took to overcome her hip injury in the hauntingly purple lit scene of her car rying a large mannequin leg down a runway, at first struggling but then strutting like she was born to do it. And we know she was. Finally, ‘Seashell Girl’ is born in the hands of monsters, in the hands from which she wants to hear the APPLAUSE. Gaga herself has indicated that this is a reference to Botticelli’s Venus. However, in these scenes Gaga is also showing us where she wants to be right now, her place where she is happy and having fun. Where she will claw her way back into our hearts so that she can get the well deserved APPLAUSE and love from her fans, the APPLAUSE that keeps her living. However, I don’t think she realises that we have never stopped clapping and that we never will.
W
ith the ARTPOP era just beginning, all Little Monsters have been researching and keeping up to date with everything that the Queen of Pop, Lady Gaga is doing, and is going to do. It has been recent news to the fans about the people Gaga has actually collaborated with on this album. She has worked with some of the biggest artists for this album including Jeff Koons, Inez & Vinoodh, Robert Wilson, and last but definitely not least Marina Abramovic´. If you have not heard of Abramovic´before, you are definitely going to hear more of her soon to come. Marina Abramovic´ was born in Yugoslavia in 1946 and has been a performance artist for over 40 years. She is still producing some of the most innovative and avant garde pieces, that artists all over the world admire in some sort of way, whether it be to just try and understand her work, or actually participate themselves. This is where Gaga comes into play. Abramovic´has established her own self-named method, obviously called the Abramovic´Method. Artists and others like the general public have practiced this method and have had excellent results. If you go to www.marinaabramovicinstitute.org you will learn all about the method like what it is exactly, artists that have practiced it, and even Marina Abramovic´-
explaining herself what she wants you to do during this method. The Abramovic´Method helps draw inspiration from inside, which is why a lot of artists take the challenge to practice the method. It is said to be a challenge because the participant has to be in an almost meditation
video that Gaga promoted and told everyone to watch. The video shows Gaga practicing the Abramovic´Method, but the reason it is not safe for work is because she practices half of it nude. The nude section was not much of a shock to Monsters, but it definitely gave the media something to talk about.
“It’s a simple exchange. If you give me time, I give you experience.”
state for two hours. All it takes is time says Abramovic´, “It’s a simple exchange. If you give me time, I give you experience. If you don’t give me time, I don’t give you experience.” Gaga had to sign a contract just like everyone else that wants to practice the method. All the contract states is that the participant stays focused for the whole two hours. A lot of people, not just Little Monsters have been talking about the NSFW (Not Safe For Work)
There are several different shots that were taken. The video opens with Gaga lying on the floor, which is one out of three parts of the method with the other two being sitting and standing. She is wearing clothes until the fourth clip where she is walking blindfolded and nude through an open grassy area. The rest of the video is really interesting and a must see and can be found at www. complex.com. Not only did Gaga practice the Abramovic´Method, she also sent in a surprise submission to MAI (Marina Abramovic´Institute) during their eight-hour reading of “Solaris” by Stanislaw Lem. The video is black and all you can hear is an almost monotone Gaga reading chapter one of the sci-fi novel aloud. Then Abramovic´communicates through Skype and a group or team of readers wearing white lab coats, who read
the rest of the novel to 50 writers and artists that are blindfolded. One of the main reasons fans have been hearing so much about Abramovic´is because Gaga has mentioned her in almost every interview lately. In a recent interview with Jared from JustJared.com Gaga says, “I love Marina Abramovic´, the performance artist!” She also confirmed in that interview that Abramovic´has been her mentor lately and has really helped her be more positive, which definitely showed after the MTV Video Music Awards, when she was smiling everywhere she was seen, and also had to leave because One Direction was getting booed, and she could not handle the negativity. Gaga also stated Abramovic´has helped her connect more with her Little Monsters. “More than ever in life, I’ll be able to show my fans how much I love performing for them. My time spent with her has really cleared my head, and once your head is clear and the noise is gone, you’re really able to hear your heart beat again. And my heart beats with the energy from my fans and my heart
beats for the stage.” Abramovic´actually interviewed Gaga for a new V Magazine that will hit the shelves this September. The interview has four lengthy parts full of a lot of detail about the album and Gaga as an artist in general. In another recent interview on BBC Radio 1, Gaga says, “She’s been mentoring me and she’s been teaching me to revive my discipline and relaxation. And she was asking me when I feel relaxed, and I said I truly don’t feel relaxed until I’m onstage. She said this is a diseased artist, this is a real artist. You are diseased, you’re obsessed. And it’s true, when I’m not onstage I don’t feel alive.” I think all fans are glad that Gaga has been working with Abramovic´. It really has been showing in her work, and just in her personality in everyday life. She seems so happy to be back, and I think the fans are even happier. Hopefully Gaga and Abramovic´will continue to collaborate and make wonderful masterpieces of performance art. This article has been wrote by Kala Celeste Godwin.
EVOLUTION OF FASHION I take a closer look into Gaga’s fashion since 2008 and question: What’s in store for ARTPOP? It almost seems impossible to believe that it has only been 5 years since Gaga came into the music scene. Not only did she make a mark in the music charts but her costumes made editorial magic and drove the paparazzi crazy. In the beginning Gaga became known as the slightly quirky girl with the hair bow. Little did anyone know that she was truly crazy. Here are some of the top looks from the Fame era and the Born This Way era that made her the fashion icon and Vogue cover girl she is today and turned red carpet fashion into a 24 hour lifestyle. 1. One of her earliest looks was the famous Thierry Mugler dress that she donned for numerous performances early in her career. This soon became a signature look and later was accompanied with the iconic hair bow. 2. This was the beginning of her red carpet surprises in 2009 that cemented her as a fashion icon. This particular look by Jean Paul Gaultier was just one of the four outfits she wore for the VMA’s in 2009. ( You know, the tiny moment in music history where she was bleeding on stage.) 3. This was the famous dress she wore at the BRITS, where she performed a moving rendition of Telephone and Dance in the Dark as a tribute to Alexander McQueen. He was one of Gaga’s best fashion collaborators and friend. 4. The iconic meat dress. All jaws dropped for weeks when she walked on stage to accept the Video of the year for Bad Romance. ( Bow down, bitches!) 5. This beautiful piece by Nicola Formechetti for Mugler was created for the CFDA awards where she was honoured with the Fashion Icon award. 6.This magical work of art, hands down, has to be Gaga’s best red carpet moment of all time. Two
words - Alexander McQueen 7.This stunning dress was worn at the press conference in India when she arrived to perform at the Formula One Concert series as the headlining act. Her arrival was seen as a national event in pop culture. 8.This recent dress by Maison Martin Margiela at the NYC Pride 2013 sent fans into a frenzy as she made her first public appearance after 6 months. Ever since Gaga announced details about ARTPOP, we have seen her in nothing much but heels and simple custom dresses from fashion houses. The only thing that keeps changing is her hairstyle. We still haven’t got a definitive fashion style for the album, but it does seem like her hairstyle for the VMA’s could be the ARTPOP style. I’ll keep my eyes peeled out for some ARTPOP fashion and get back to you. AIMEN FASHION. Written by Rohit John.
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