beauty of modesty

There are cultural and religious reasons why women cover themselves up around the world, which within of itself presents controversy. Looking at it through a feminist lens, some believe this is a form of female oppression because they are stifled by their culture’s rules and traditions. On the other hand this is viewed as a form of respect and modesty. Not to undermine these reasons or bring them down to just an aesthetic level, but regardless of the age old debate, there is a mystique that surrounds the women who cover themselves. This could be why this kind of look is perpetually translated and interpreted in fashion. That air of mystery is quite enchanting and the idea of beauty radiating without bearing skin is empowering.

images:National Geographic

runway images: YSL F/W 2010, Givenchy F/W 2009 couture, Rick Owens F/W 2010-style.com



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more than just a pretty pattern

It is always interesting to see how different cultures with completely different paths and histories can meet and intersect in the name of art or fashion. For Spring/Summer 2010, Dries Van Noten presented a collection inspired by the vibrancy of African clothing, very similar to the garbs worn by women of the Hadza tribe in Tanzania, with quintessential prints and colors that reflected the culturally rich continent. There was a hybridity between the bourgeois and the third world; paradoxically beautiful and unsettling. While it was a beautiful homage, and the collection was well executed, there are two ways of looking at this: it can be looked at as a designer in love with a culture and is visually alluding to it, or simply taking a part of a people’s history and placing it in a context surrounding aesthetics and capitalism: the fashion world.

African culture continues to inspire so many facets of Western society serving as a patron for art, music, fashion, et al, however, the exchange between the two worlds are uneven. The West reaps more benefits while Africa perpetually receives the short end of the stick. One cannot help but think about how for the price of any of these runway pieces, the very people who inspired the collection could live and eat for months.

Junya Watanabe, another designer who has been inspired by African textiles and the way the garments are worn, showed his interpretation of African textiles for his SS2009 collection (the silhouettes were a little bit more authentic, in relation to those of Van Noten’s). The “borrowing “ of African culture and its transplant into modern art and fashion begs the question: do the clients/ customers who buy the clothes really understand the meaning behind it all? Odds are, most people buying these “African-inspired” pieces do not get past liking them on an aesthetic level, thus turning it into a “summer trend.” They do not know that there is an entire history behind the patterns and the colors, and the weaving and dying techniques that have been instilled in African culture for years.

While it is great to see globalization and the cross-breeding of cultures taking place on a fashion stage, people still need to take it upon themselves to learn and familiarize themselves with the culture they hold a piece of when buying a certain garment or artwork. Yes it’s beautiful, but there is more to it than that.



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Dance Africa 2010 at the Brooklyn Academy of Music.

This was a phenomenal performance. Made me want to book a flight to Senegal immediately. I miss Africa.

images:New York Times 

videos: Amy Sall

more info:BAM



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faith in fashion.

It seems that religious motifs are becoming increasingly acceptable as an element in fashion. In this spread for the aw2009 issue of WONDERLAND magazine, the traditional “hijab” worn by women in Islamic culture, was re-interpreted to fit the mood of the editorial—connoting a hidden identity. The hijab, in conjunction with the other amazing pieces (Rick, Junya, for instance) is the icing on the striking editorial cake. As the concept of religion in fashion continues to manifest itself in the pages of magazines, it is no stranger to the runway. Rick Owens spooled some holy thread in his men’s fw2009 and women’s ss2009 collections with his inclusion of the priest/priestess hat.

Rick Owens men’s aw09/women’s ss09

It’s interesting to see religious garments, or garments that evoke religion, be taken out of their context and stripped of their symbolic significance for editorial/aesthetic purposes. Is it in a way some mild, tiny, eency-weency form of scrilege? Those who are super, freakishly religious may think so. But, honestly speaking religious/cultural garbs are some of the most beautiful pieces of clothing and easily lend themselves to the fashion world.

The long silhouette in a Priest’s robe, the beautiful drapes and asymmetry in the garb of a Buddhist monk—these are elements that designers have been inspired by and emulated for quite some time. Using religion and culture as points of references takes away some of the superficiality of fashion and gives a bit of meaning behind a garment; it provides depth to an over all look.

young Burmese monk photographed by Ralph Ledergerber/ Julius ss2009 (look 36)

images:

GQ

style.com

supreme model managemnet blog



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Junya Wantanabe SS09 In my “Africa in New York” class today, the term (and yes, it is a real term)”GLOCALIZATION” came up. Glocalization is basically the concept of globalization becoming localized. In other words, a global phenomenon taking on a local form. We were asked to think of examples of this concept and what came to mind for me was Junya Wantanabe’s SS09 collection. Wantanabe drew upon certain aesthetics that are associated with the third world and effortlessly reflected that in his own collection. He brought culture and a large part of the world to the runway. The prints, the accessories, the silhouettes will infiltrate our immediate surroundings, come spring. Thus, “globalizing the local”. Of course everyone’s “local” depends on where one lives. Just thought I’d make a crazy parallel one time for ya mind. This is anthropology as seen through a fashion lens (according to me)… Now, let that marinate.

Junya Wantanabe SS09

In my “Africa in New York” class today, the term (and yes, it is a real term)”GLOCALIZATION” came up. Glocalization is basically the concept of globalization becoming localized. In other words, a global phenomenon taking on a local form. We were asked to think of examples of this concept and what came to mind for me was Junya Wantanabe’s SS09 collection. Wantanabe drew upon certain aesthetics that are associated with the third world and effortlessly reflected that in his own collection. He brought culture and a large part of the world to the runway. The prints, the accessories, the silhouettes will infiltrate our immediate surroundings, come spring. Thus, “globalizing the local”. Of course everyone’s “local” depends on where one lives. Just thought I’d make a crazy parallel one time for ya mind. This is anthropology as seen through a fashion lens (according to me)…

Now, let that marinate.



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