{"id":57533,"date":"2017-10-02T17:54:22","date_gmt":"2017-10-02T15:54:22","guid":{"rendered":"https:\/\/www.sleek-mag.com\/?p=57533"},"modified":"2017-10-02T17:54:22","modified_gmt":"2017-10-02T15:54:22","slug":"london-fashion-week-report-politics-lfw-2017","status":"publish","type":"post","link":"https:\/\/www.sleek-mag.com\/de\/article\/london-fashion-week-report-politics-lfw-2017\/","title":{"rendered":"London Fashion Week Report: Escapism and Political Confrontation Ruled LFW 2017"},"content":{"rendered":"

\"\" L-R; Emma Clarke, Dilara Findikoglu, Alistair James.<\/p>\n

London has had a difficult year. Brexit looms over a city facing the repercussions of austerity and privatisation. The prospect of environmental catastrophe hangs heavy, and political polarisation has never been more severe. After an explosion on the Tube in Parsons Green on the first day of London Fashion Week, the security level was raised to critical.
\nThe big question going in to London Fashion Week was if this turbulence would ripple into the shows. I found an answer hand-painted on a clutch bag in the hands of fashion illustrator Kit Skellington. It showed a naked Donald Trump, along with the words \u201cBIG BUSTY BIGOT\u201d. When asked whether designers should respond to politics, Skellington was certain. \u201cThey have an obligation to. I think if fashion is trying to escape the political climate instead of reacting to it, and if they\u2019re not standing up for people who need it right now, then they\u2019re not very good designers.\u201d Today\u2019s progressive young people demand social commentary from the art they consume, and it seems some fashion designers are picking up on this. This season saw tutus in angry colours and mournful black eyeliner, with belts and buckles which give the sense that we\u2019re all strapping ourselves in for a post-apocalyptic, Mad Max-esque world of survival. But much more prevalent was the idea of fashion as escape, and collections intent on retreating into a desperate, romantic musing.<\/p>\n

\"\" Illustrator Kit Skellington’s customised bag. Image: Kit Skellington.<\/p>\n

The design world at large has been locked in an affair with the living world all year. Pantone named \u201cGreenery\u201d its colour of 2017, calling it a symbol of \u201cnew beginnings\u201d and \u201cthe lushness of the great outdoors\u201d. They suggest its use in architecture and design offers \u201cthe reassurance we yearn for amid a tumultuous social and political environment\u201d. Come January, Dior transformed the interior of Muse\u00e9 Rodin into a garden where celebrities came and went like moths. In July, Alessandro Michele\u2019s garden-themed capsule collection \u201cGucci Garden\u201d showed a Garden of Eden in which models frolic with the snake, and unapologetically bite the apple. In a time where it seems Mother Earth is punishing us for our greed, designers haven\u2019t resisted the temptation to paint everything the colours of paradise and make believe.
\nAs well as natural motifs, an almost cartoonish fantasy of youth reigns over London Fashion Week. Tulle is omnipresent in frocks like giant flowers. Wave of frothy ruffles and sherbet hues crest in the SS18 collections. High waistbands and puffy sleeves evoke children\u2019s fashion in the same way Balenciaga\u2019s 1958 \u201cBaby Doll\u201d dress did. A sense of abundance has been key across all of the major fashion weeks. A picture has emerged of an industry in the grips of nostalgia about a past we can\u2019t remember, before we began to use up the earth. Facing uncertainty, we are desperately grasping for a sinless past.<\/p>\n

Emma Charles: Fashion’s Obsession With Nature Comes to Redcar, Teesside<\/h3>\n

\"\" Emma Charles SS18 presentation. Image: Emma Charles.<\/p>\n

Young designer Emma Charles\u2019 SS18 brought the idealist fantasy of the season to a town hollowed by the loss of its industry. At the presentation, models wore tailored gowns in a wood-panelled room as a projected video played. In it, Rachel Livingstone, a street-cast from Middlesborough, stands amidst an abandoned blast furnace which nature has begun to reclaim.
\nAn interview with the model echoes off the high ceiling of the room, cut with facts about the blast furnace: \u201cit reminds everyone of what used to be here and what everyone\u2019s life used to be like\u201d she says, \u201cnobody\u2019s here in Redcar anymore\u2026 I\u2019m not sure if I\u2019ll stick around here much longer\u2026 Maybe I\u2019ll just move to London and fall in love\u201d. The northern “brain drain,” most pronounced in the arts industries, results from the feeling that everything happens in London. As they lose their function, the ghost towns and their inhabitants transform into decorative relics of the past.\u00a0The problematics of wistfulness are distilled in Emma Charles\u2019 SS18.<\/p>\n

\u201c[Fashion] lets you see the romantic side of it\u2026 through wanting, and aspiring to luxury\u201d \u2014 Emma Charles<\/p><\/blockquote>\n

Charles hails from Redcar, calling it \u201ca beautiful town that people find quite ugly\u201d. She told me she only began to appreciate Redcar\u2019s beauty after she moved away. This speaks of an industry-wide impulse to beautify poverty, viewing it from a romantic distance. The north\u2019s influence on fashion has been well-documented<\/a> (see Gucci\u2019s SS18 logoed tracksuits), as has the questionable nature of this romanticisation.<\/p>\n

\"\" Emma Charles SS18 collection. Image: Emma Charles.<\/p>\n

As Charles\u2019s collection showed, this idealisation does nothing to improve the situation of the idealised. The video showed Livingstone mouthing a silent scream in the centre of an overgrown grassy plain in her ghost-hometown. The image is poignant in our post-Brexit political landscape, where we feel disempowered, and must face the very real threat of becoming an isolated ghost-nation.<\/p>\n

Alistair James: Sleeping Beauties and Scripted Futures<\/h3>\n

\"\" Alistair James SS18 Collection. Image: Alistair James.<\/p>\n

Catastrophes of excessive luxury have inspired designs based on yet more excess. This is an irony designers seem all too aware of. But for design duo Alistair James, escapism can be a hopeful response to the present. \u201cLove Conquers All\u201d was the title and message of their SS18 collection. The presentation was held in a dimly-lit chapel filled with harp music and flowers. The models stood under four-poster frames entwined with white flowers and leafy vines. This idyllic retreat felt like a romantic medieval moment from the quasi-historical land of a fairytale past. The pair were inspired by Disney\u2019s Sleeping Beauty, and the animators\u2019 references to medieval European and Persian tapestries. Sheer fabrics and garters gesture to lingerie and preternatural slumber. Elaborate folds are set in sleeves that bloom out from the elbow; the curves in a flared jumpsuit recall Maleficent.<\/p>\n

\u201cIt\u2019s about escape. I love anything that makes me feel happy\u201d \u2014 Nick Alistair Walsh<\/p><\/blockquote>\n

A certain Wordsworthian impulse drives these designers. Like the Romantic poets, they succumb to the pre-Raphaelites and John Ruskin\u2019s famous commandment: \u201cgo to nature\u201d. I asked Nick Alistair Walsh why they were drawn toward the natural world, and the colour green, inkeeping with the wider fashion world. \u201cGreen makes us think of rebirth and renewal\u2026 it\u2019s a forever colour.\u201d \u201cIn a time when we feel we might not be around forever?\u201d I asked, and we shared that familiar look of resignation and understated panic. \u201cExactly.\u201d<\/p>\n

\"\" Alistair James SS18 Collection. Image: Alistair James.<\/p>\n

The Alistair James girl poses with open books and flowers, projecting an innocent immersion in fiction. But a fatalism threatens her, as Walsh explained. \u201cSleeping Beauty has her fate decided for her the day she is born, the same as a lot of young people today\u201d. These same contradictions are present in the work of Julia Margaret Cameron, a key source of inspiration for the pair. Known for her celebrity portraits, Cameron would transform \u201cordinary\u201d women like scullery maids into Arthurian heroines. We see her influence in the minimal makeup, halo-like brushed out curls, and the hands clutching flowers.
\nSixties fashion icon Ossie Clark was also a major inspiration for Alistair James SS18. The psychedelic era is in vogue\u2014 House of Holland and Richard Malone showed us trippy stripes, Markus Lupfer presented a nowhere-world where free-wheeling colour palettes dominated. Certainly, it\u2019s not just the clothes that hearken back to this era. Political polarisation and threat of collapse also typified the age of psychedelia. It seems natural that we\u2019re drawn back to the colourful \u201cfree love\u201d counter-culture that emerged in response. We relate to the experimental, anything-goes spirit, and disregard for society\u2019s expectations. But if history is anything to go by, this rarely goes beyond aesthetics. How long can we conceivably stay in this idealistic dream of unity and hedonism before the fantasy dies? As history can attest, this movement leads nowhere but disillusionment.<\/p>\n

Dilara Findikoglu: Punk, Emo, and Futurism<\/h3>\n

\"\" Dilara Findikoglu SS18 Runway. Image: Dilara Findikoglu<\/p>\n

Whilst some designers have retreated in frothy fantasies of innocence past, others prefer to face our current situation kicking and screaming. One such designer is Dilara Findikoglu, whose \u201cSeven Sisters of Inherited Sun\u201d collection embodied her usual spirit of anarchism. Punk is reborn in her signature commie-red and black palette. Accessories are made of nails and bolts, fluorescent mohawks abound. Punk music screams from the speakers as the models stomp to dystopian lyrics like \u201cToo many humans. You breed like rats! And you\u2019re no fucking better.<\/a>\u201d In gothic lettering on red paper, she offers poetic prose:<\/p>\n

The TV is playing war, we hope for peaceful sunlight\u2026 The philosopher is counting the slow candles of the icebergs\u2026 The president has retreated to the golf club, he rules in half sentences. Coughing up the 1950s\u2026 God is bored of us now. She sides with the animals and the weather and they watch our digital alien rampage, with cool sad eves.<\/p><\/blockquote>\n

Findikoglu\u2019s gowns, tailored suits and separates were modelled by a cast of misfit-royalty: Brooke Candy, Jazzelle \u201cUgly Worldwide,\u201d and drag performers Violet Chachki and Sussi Sussman. The DIY halloween aesthetic pays homage to a certain rock-n-roll, defiant adolescent energy. She is the sort of designer youth like Kit Skellington can identify with.<\/p>\n

\"\" Dilara Findikoglu SS18 Runway. Image: Dilara Findikoglu<\/p>\n

The ostracised emo and goth kids of yesterday are the new cool kids. The current visual divide between dark glamour and twee romanticism visually replicates the kind of high school politics many of us are familiar with. Outsiders pride themselves on rejecting the \u201cnormies\u201d. It\u2019s hard not to be slightly cynical about this message in the digital age, where subcultures are tumblr aesthetics and devices for accessing niche markets<\/a>. \u00a0In this labyrinth of meta-references, authentic rebellion can only exist for a second before being swallowed by the mainstream. Clich\u00e9 driven marketing turns identities into costumes. In “The Rebel,” Albert Camus writes \u201cHuman rebellion ends in metaphysical revolution. It progresses from appearances to acts, from the dandy to the revolutionary.\u201d But the fast fashion cycle has us stuck at appearances. In its need to create demand it forges an ever shifting fashion siberia under the banner of doing away with it.
\nCapitalism degrades, but does not destroy the value of representation. We need the futurist impulse of designers like Dilara Findikoglu in a homogenous industry. If nature nostalgia is Romantic poetry, these futurist concoctions are sci-fi. Their fantasies try to envision a more diverse future, rejecting nostalgia, which in times of crisis amounts to little more than the self-soothing fantasies of a child. When the fashion industry is professing its innocence in florals and princess fantasies, we need more designers who treat their art like a battle cry.<\/p>\n","protected":false},"excerpt":{"rendered":"

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