{"id":61864,"date":"2018-02-16T18:53:54","date_gmt":"2018-02-16T17:53:54","guid":{"rendered":"https:\/\/www.sleek-mag.com\/?p=61864"},"modified":"2018-02-16T18:53:54","modified_gmt":"2018-02-16T17:53:54","slug":"food-waste-calvin-klein","status":"publish","type":"post","link":"https:\/\/www.sleek-mag.com\/de\/article\/food-waste-calvin-klein\/","title":{"rendered":"We Need to Talk About the Food Waste At Calvin Klein AW 18"},"content":{"rendered":"

\"\"
\nThere is no doubting the powerful impact Raf Simons has had in his first three seasons at Calvin Klein. His work for the brand has continued to reinforce his warped vision of a modern-day America through a meeting<\/span> of worlds<\/span> old and new. But AW 2018 saw Raf up the ante even further. While maintaining that his collection was meant to inspire hope, there was more than a whiff of dystopia about the post-apocalyptic barns pasted in Warhol prints, alongside which dresses made from silver survival blankets shuffled down a popcorn-covered runway.<\/span>
\n\"\"
\nMoreso than the gowns made out of burlap sacks and Gucci-esque balaclavas, it\u2019s the popcorn that\u2019s got tongues wagging online. 6.2 tonnes of the stuff blanketed the floor of the New York Stock Exchange (which, it has to be said, is already a loaded location). The popcorn was intended to be emblematic of snow and of Hollywood, America\u2019s cultural engine \u2013 guests were also given individual bags of popcorn to spectate the show in true cinematic style. <\/span>
\n\"\"
\nThe popcorn also evoked the American Dream: the idea that anything is possible, even filling a room ankle-deep in edible snacks without consequence. Except, of course, there are consequences; Simons has been eviscerated on social media for the flagrant food waste on display. Of course, any examination of modern America would be incomplete without some excess \u2014 but was Simons critiquing this excess, or just contributing to it? Certainly, both elements were at play. In the world Raf Simons created for the AW 2018 show, he was able to show the tangible distance between fashion and reality, but also between rich and poor, fed and hungry. The gulf between the haves and the have-nots, between the privileged and the marginalised, is bone-deep in today\u2019s America. But the popcorn carpet still leaves us to question whether Simons had a responsibility to highlight these differences without contributing to conspicuous\u00a0food waste.<\/span>
\n\"\"
\nThe irony of the Calvin Klein food waste becomes richer when you consider one of the collection\u2019s main influences was \u201cSafe\u201d, a 1995 thriller by director Todd Haynes. (In a surreal turn of events, the post-show clean up was carried out by men in white masks and goggles, another oddly fitting tribute to the film.) \u201cSafe\u201d is a film that tackles the effects of an environmental illness on a suburban Californian housewife (played by Julianne Moore), whose symptoms range from nosebleeds to vomiting and aggressive convulsions. The disease she\u2019s plagued with is the \u201creal\u201d (but often disputed) \u201cTwentieth Century Disease\u201d. Suspected sufferers of this condition display acute hypersensitivity to just living in the real world, and inhabiting our environment. Arguably the popcorn carpet deepened this symbolism, and was meant as a comment on the world\u2019s noxious environment both politically and environmentally \u2014 which would certainly seem at odds with the material excess and waste involved in mounting the show itself.<\/span>
\n\"\"
\nUltimately, the questions boils down to: in our current climate, can 6 tonnes of food waste be justified by theatrical spectacle? Indeed, houses like Chanel are renowned for their sense of spectacle \u2014 but they\u2019ve also been known to apportion some of their lofty budgets towards staging their shows ethically. When Chanel transformed Paris\u2019 Grand Palais into a supermarket for their AW 2014 collection, all of the food used to stock the shelves was distributed to charities after the show. Calvin Klein were tight-lipped when we reached out for comment about the disposal of their edible set; given it had been trampled by the guests, we can only assume the popcorn got binned by the truckload. \u00a0<\/span>
\n\"\"
\nIn the show notes Simons states, \u201cmore than anything else, this collection is about freedom\u201d. While he exhibited his own creative liberty, perhaps a more fitting word would be \u201cprivilege\u201d. Calvin Klein\u2019s popcorn nod to capitalist culture didn\u2019t just highlight the economic privilege of the Western fashion institution; it also demonstrated the fashion world\u2019s privilege to turn a blind eye to the environmental issues which plague our world. Calvin Klein is certainly not alone in this regard; excess in the industry is well-documented. Fashion can often feel like a sheer manifestation of gluttony, from the impact of fast fashion on the environment, to the eye watering wealth displayed on the runway. It has sparked a word-wide debate on the future of the fashion industry, and what responsibility designers have in incorporating sustainability into their craft. Fashion is an incredibly useful tool for protest, solidarity and change, but without a necessary shift towards sustainability, we are only fuelling worn out clich\u00e9s surrounding the industry. The catwalk should be setting the standard for the world to follow; designers should feel the weight of responsibility when deciding how to show their collections. So while a room of popcorn may seem like a fun day out at fashion week, the message it condones is one we do not need in 2018. \u00a0<\/span>
\n\"\"
\nAmerican sociologist Herbert Blumer once proclaimed that clothes speak, they don\u2019t listen. Indeed, the soundtrack for Calvin Klein AW 18, \u201cThe Sound of Silence\u201d by Simon and Garfunkel, contains the choice lyrics \u201cpeople talking without speaking, people hearing without listening\u201d. If fashion still isn\u2019t engaging in dialogue, designers should at least make sure their work is saying the right thing.<\/span><\/p>","protected":false},"excerpt":{"rendered":"

When 6.2 tonnes of popcorn are strewn across the floor, it begs the question: can waste ever be justified as a fashion spectacle? <\/p>","protected":false},"author":1,"featured_media":61866,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[8,10172],"tags":[],"class_list":["post-61864","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-berlin","category-film"],"acf":[],"yoast_head":"\nWe Need to Talk About the Food Waste at Calvin Klein AW18<\/title>\n<meta name=\"description\" content=\"When 6.2 tonnes of popcorn are strewn across the floor, it begs the question: can waste ever be justified as a fashion spectacle?\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sleek-mag.com\/de\/article\/food-waste-calvin-klein\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"We Need to Talk About the Food Waste at Calvin Klein AW18\" \/>\n<meta property=\"og:description\" content=\"When 6.2 tonnes of popcorn are strewn across the floor, it begs the question: can waste ever be justified as a fashion spectacle?\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sleek-mag.com\/de\/article\/food-waste-calvin-klein\/\" \/>\n<meta property=\"og:site_name\" content=\"Sleek Magazine\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/sleekmag\/\" \/>\n<meta property=\"article:published_time\" content=\"2018-02-16T17:53:54+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@sleekmag\" \/>\n<meta name=\"twitter:site\" content=\"@sleekmag\" \/>\n<meta name=\"twitter:label1\" content=\"Verfasst von\" \/>\n\t<meta name=\"twitter:data1\" content=\"sleek\" \/>\n\t<meta name=\"twitter:label2\" content=\"Gesch\u00e4tzte Lesezeit\" \/>\n\t<meta name=\"twitter:data2\" content=\"4\u00a0Minuten\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.sleek-mag.com\/#website\",\"url\":\"https:\/\/www.sleek-mag.com\/\",\"name\":\"Sleek Magazine\",\"description\":\"Sleek is Germany\u2019s leading independent media house\/brand for creativity and innovation located in Berlin the creative capital of the world. 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