Twenty-First Century Fashion Appraisal

TWENTY-FIRST CENTURY FASHION APPRAISAL

Wen-Hsin Feng 200993178 Level 1 Fashion Marketing Word Count 1977

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Contents

Introduction

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Tech Obsession

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9/11

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Popular Culture

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Hip Hop Music

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Democratisation of Fashion

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Analysis

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Contemporary & Future Trends

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Conclusion

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References

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List of Figures

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Introduction Since the turn of the century, fashion has been moving ever faster in this digital age. Driven by an abundance of forces exposed by the media at every instance, a huge number of both diverse and universal trends are able to co-exist around the world. However, as fashion moves forward, we still find ourselves looking back to the past for inspiration, with many trends of this century reinterpreted from the 70s and 80s.

The following appraisal will discuss some of these trends, putting them into the context of their driving forces and inspirations, then drawing on these observations, explore how contemporary events are, and will be, influencing trends in the future.

Figure 2: Christian Dior Fall 1999 Couture Look 6/43

Figure 1: Christian Dior Fall 1999 Couture Look 40/43 4

Tech Obsession

Turning into the new century, the 2000s started off with an obsession for anything tech. Films from the recent past, such as Blade Runner (1982), The Terminator 2: Judgment Day (1991) and The Matrix (1999), fuelled the anticipation for a new millennium of ‘futuristic technology’ (Brillson, 2013). This anticipation grew into obsession as the Internet took off following the World Wide Web opening for public access in 1993 (WWW Foundation, no date), and Windows developing ever more user friendly operating systems such as Windows 95, 98 and 2000 (Webdesigner Depot, 2009).

Ground-breaking devices such as the MP3 and the iPod, appearing in 1998 (Fraunhofer IIS, no date) and 2001 (Apple, no date) also revolutionised the way music was consumed. These technological advances gave birth to the ‘Y2K’ fashion trend, which involved a colour pallet centred on black, ‘wet’ black and metallics, and an excessive amount of strap and buckle detail (Brillson, 2013). A great example is Christian Dior’s 1999 couture collection which was heavily influenced by The Matrix (Borrelli-Persson, 1999) (figure 1, 2, 3). However, a lot of the silhouettes at this time were not as new as one would expect, with many elements inspired by the 70s glam rock era and its stars such as Ziggy Stardust (Larroca, 2000) (figure 4, 5).

Figure 3: Christian Dior Fall 1999 Couture Look 1/43.

Figure 5: Julien Macdonald Fall 2000 Ready-to-Wear Look 59/68.

Figure 4: Vogue View: Tracing a Trend: King David 5

9/11

Figure 7: Boudicca Fall 2002 Ready-toWear Look 24/25.

On September the 9th, 2001, following the terrorist attacks conducted by alQaeda, New York’s Financial district was badly damaged (9/11 Memorial, no date). The stock market was shaken badly, closing down for 4 trading days, inevitably experiencing great loses (Encyclopaedia Britannica, 2001).

The emotional distress casted by this disaster was overwhelming, and the fear and grief of people gradually reflected on the fashion they adorned (Freer, 2013). The pallet moved away from the bling and flash of the Y2K era and entered a more conservative and classic style of dress (Brillson, 2013). Skirt hems became longer giving rise to midi/maxi dresses and full skirt trends such as the ‘Gypsy Skirt’ (Mower, 2001) (Money Morning, 2012) (figure 6, 7, 8), and a resurgence of the ‘Preppy Look’, ‘Ivy League Style’ and the ‘School Girl Look’ took place (Sykes, 2002) (figure 9, 10, 11). Nostalgia and feelings of patriotism in the US ignited a desire for the old ‘American Look’, which soon became a worldwide trend for the classic

Figure 8: Ralph Lauren Fall 2002 Ready- Figure 6: Boudicca Fall 2002 Ready-toto-Wear Look 43/44.

Wear Look 2/25.

Figure 9: Ralph Lauren Fall 2002 Ready- Figure 10: Ralph Lauren Fall 2002 to-Wear Look 17/44.

Ready-to-Wear Look 1/44.

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Figure 17: Fashion: The Full Skirt is the New Skirt 1951, Vogue

Figure 15: Gypsy Queens. 2005. Vogue

American working class uniform: jeans, specifically the flared/boot -cut and sandblasted kind to look extra worn or even vintage (Brillson, 2013) (figure 12, 13, 14). The impacts on the economy made people more value/price conscious and popularised another surge of love for vintage, thrifting, recycling and DIY (Brillson, 2013). All these trend, again, are not new inventions, but resurgences taking elements from the past, tweaking original silhouettes to better suit the contemporary context. A prime example is the ‘Gypsy Skirt’ of 2001 (figure 15) being the silhouette combination of the ‘Rah-rah’ crinoline skirts of the 80s (figure 16), and the ‘Poodle Skirts’ of the 50s (Mower, 2001) (figure 17).

Figure 16: Madonna at the MTV Music Awards in 1984 Figure 11: Abercrombie Fitch 2002 7

Figure 14: Marc by Marc Jacobs Spring 2002 Ready-to-Wear Look 39/48.

Figure 13: Marc by Marc Jacobs Spring 2002 Ready-to-Wear Look 39/48

Figure 12: Calvin Klein Fall 2002 Readyto-Wear Look 50/50.

Figure 19: Christina Aguilera 2000 MTV VMAs

Figure 18: Britney Spears’s 2000 MTV VMAs performance.

Popular Culture During the late 90s to the mid-2000s, a huge leap in the acceptance of bare skin, public nudity and openness towards sex took place, primarily driven by ever radical costumes and fashions worn by celebrities such as Britney Spears (figure 18), Christina Aguilera (figure 19), Jennifer Lopez(figure 20) and Paris Hilton (Astley, 2001) (figure 21), but also thanks to popular television shows such as Friends and Sex & the City, openly tackling traditionally tabooed issues regarding sex, such as sexually transmitted infections, menstruation and unwanted pregnancy (Rees, 2014).

The ever improving communications technology magnified the influence of popular culture. Openly expressing ones sensuality became widely accepted and popularised, and thus ‘Sexy’ became the hottest new trend for young women, and many garments were designed to exhibit previously unexposed skin and demonstrate sex appeal (Sykes, 2002).

These included the famous ‘Whale Tail’ in which low rise or hip-hugging jeans were paired with visible thongs (Astley, 2001) (figure 22). Other micro-trends under this umbrella include cropped tops which bares the midriff

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Figu GRA

ure 20: Jennifer Lopez at 42nd AMMY Awards 2000 in Versace

Figure 21: Paris Hilton MTV Music Awards 2003

(figure 23) and also the low plunging V-necklines (Astley, 2001) (see figure 22). Although these trends were predominantly circled around womenswear, the men were able to pick up on the V-neck trend in the form of Tshirts (Babcock, 2015) (figure 24), though not exactly as low plunging.

Previously, these V-neck T-shirts were only worn as undershirts, allowing men to have some of their dress shirt buttons open (Babcock, 2015). From this example, we can observe that another way past fashion can be reinterpreted into contemporary context is by re-issuing these garments new purposes and ways of styling.

Figure 24: Costume National Spring Summer 2002 Ready-To-Wear Look 42/46

Figure 23: Gwen Stefani at 2001 VH1/Vogue Fashion Awards 9

Figure 22: 2001. Christina Milian

Figure 25: Britney Spears bridal party 2004.

Hip Hop Music In the mid-2000s, Rap music and pop had come ever closer and synonymous, becoming one of the decades defining music genres, taking up a significant place in popular culture (Waynejan, 2013). Contributors include the likes of Kanye West, Out Kast, Jay-Z, 50 Cent and the Black Eyed Peas, whom have redefined what Hip Hop could be by producing records which brought the genre to new heights and popularity amongst the general public (Waynejan, 2013). Consequently, Hip Hop artists’ became hugely influential and created a following which adopted many of their styles and fashion, such as the Velour tracksuits (Freer, 2013) (figure 25) and

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Figure 26: Jay Z in Von Dutch in June 2003

Figure 27: Rocawear La Familia Campaign 2004

Figure 29: Chloé Handbag - Paddington Figure 28: Balenciaga Motorcycle Bag Grand Front Pocket – Pristine

Streetwear brands such as Rocawear (Babcock, 2015) (figure 26). What started originally as common practice of rappers calling out fashion brands as proof of their affluence and success soon evolved into the practice of actually lavishing huge amounts of cash on luxury (Brillson, 2013). A new population of luxury consumers was thus born. Appetite for named brands’ ‘It Items’ grew, and owning and exhibiting these status symbols became a major trend (George, 2016). These items included Von Dutch trucker hats (figure 27), monogramed belts and other leather accessories, and ‘It Bags’ such as Balenciaga’s Motorcycle Bag (figure 28) and Chloe’s Paddington Bag (George, 2016) (Freer, 2013) (figure 29).

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Democratisation of Fashion Nearing the end of the decade, democratisation of fashion gradually took place through the increased sharing potential of the Internet via social networking platforms such as Freindster, MySpace and Facebook (Brillson, 2013). People outside of the fashion industry were able to have their say on fashion trends, and sharing of individual styles lead to exposure and growing status for subcultural fashions such as those of emo, indie and scene kids (Babcock, 2015). Trends slowly left the influences of celebrity and their luxury ‘It Items’, and refocused on the ‘Real People’ and what they wore (Brillson, 2013). Trends such as fitted/ skinny jeans thus began (figure 30), moving away from the flare and boot-cut silhouettes from the earlier part of the decade (Brillson, 2013). A ‘Geek Chic’ trend also surfaced, with a focus on more classic, retroinspired styles involving thrifting and vintages (Babcock, 2015) (Brillson, 2013). The look included items

Figure 31: Geek Chic

Figure 30: The Arctic Monkeys 12

Figure 32 a smoke Ashbury

such as tucked-in dress shirts, cardigans, bowties and suspenders (Babcock, 2015) (figure 31). What began as a subcultural trend slowly grew mainstream, and by the turn of the new decade, it had evolved into what is famously known as the ‘Hipster’ trend, which is currently still going strong six years in, often involving accessories such as trendy glasses, hats and scarves (Waynejan, 2013) (figure 32). The trend though started off primarily concerning men, has since become an androgynous style for both sexes (Waynejan, 2013) (figure 33). From the above, we can see how skinny jeans, once a symbol of rebellion for subcultural groups such as the 50s/60s Beatniks (figure 34), who wore them black and high-waisted, and the 70s Punks who wore them ripped, stained, patched and pinned (figure 35), has been re-introduced into the contemporary scene, and repositioned as the mainstream, every day and all purpose, standard trouser-wear (Fagan, 2015).

2: Nate Masse (left) and his friend take e break from their job in the HaightFigure 33: Happy hipster girl outdoors 13

Figure 34: Lady beatnik - Audrey Hepburn as the spacey Jo Stockton in Funny Face.

Figure 35: Punks hanging out on the Kings Road, London 1983

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Analysis

From the above appraisal, it can be gathered that many trends origin from a driving force which makes the public feel a certain way, if the driving force is positive and they enjoy the feeling and the association with the force, they move towards the force. For example, advances in technology and the ease of sharing information has led people to be more exposed to subcultural styles and fashions, people admire and desire these exhibitions of individualism and personality, therefore joins in on the fashion to fulfil that desire, and as more and more people lean towards it, the fashion ultimately becomes a trend. Contrarily, if the force is a negative one and puts people in a state where they do not want to be, they will try to fulfil their urge to shield or move themselves away from that place.

For example, when 9/11 hit, people went in seek of more conservative styles which provides them with a sense of safety and comfort, or adopted past styles which allows a form of escape into the memories of better times. However, forces which propel trends can be in a very complex combination, all working to varying affects, it is often not a singular direct relationship between trend and force, therefore as a fashion marketer, one must be highly conscious and critical about all that is going on to make a fair and accurate estimation of future consumer tastes and demands.

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Contemporary & Future Trends Following the above observations an attempt can be made to suggest how contemporary events may influence current and future trends: The current huge popularity of visual social networking platforms for sharing one’s personal life and character, exhibiting the ‘perfect’ lifestyle has become a dominating desire of many. This ‘perfect lifestyle’ can involve healthy eating, exercising and ethical consumer choices, being well-dressed and groomed, having a nicely furnished living quarter, and also being well travelled and adventurous.

All of these images showcase a common trait of the person being well-off and having an abundance of resources which allows them to live such a neat and fine life while being active but not a labourer. To fulfil one’s desire to be associated with such an image, one would want garments which expresses this luxury of leisure. Popular silhouettes may involve loser ones such as super-sized shirts and jackets, and wide trouser legs which suggest a comfortable life. And the colour pallet may include Earthy tones which suggest ethical living and a more relaxed and calm lifestyle. Specific garments and accessories may include tracksuits, joggings and designer trainers which associates one with an active lifestyle. Fabrics may be ones which give an ironed, polished and cleanly look which suggests the lack of labour and the possession of wealth. These suggestions can be seen realised in many collections from the past two seasons, including Burberry Autumn 2016 Menswear (figure 36), Chloé Spring 2016 Ready-to-Wear (figure 37)and Céline Autumn 2016 Ready-to-Wear (figure 38).

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Figure 37: ChloĂŠ Spring 2016 Ready-to-Wear Collection Look 3/45.

Figure 38: CĂŠline Fall 2016 Ready-to-Wear

Conclusion In conclusion, through the appraisal of fashion trends throughout the 21 st century, driving forces can be categorised into positive or negative ones, either propelling the trend, or triggering trends to develop in order to avoid the force. Moreover, contemporary trends are often reinterpreted versions of past fashions

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r Collection Look 1/42

Figure 36: Burberry Fall 2016 Menswear Look 30/57

or include elements and details drawn from the past. Lastly, even though efforts can be made and models used to predict future trends, it is still not an exact science, and one must always be mindful of the complexity of the relationship between trends and forces when forecasting them.

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Leonard, A. 2010. Nate Masse (left) and his friend take a smoke break from their job in the Haight-Ashbury.

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