SUZANA PERIĆ NA NEDELJI MODE U MILANU Naša kreatorka Suzana Perić učestvuje sa novom kolekcijom na Milanskoj nedelji mode (17–23. sep- tembar) kao pobednica u kategoriji Winner For Mad Mood nacionalne nedelje mo- de. Na reviji će učestvovati i naša džez pevačica Lena Kovačević, či- ji će glas i elegancija reviji dati sa- svim novu dimenziju glamura. SUZANA PERIĆ AT MILAN FASHION WEEK Serbian designer Suzana Perić is set to participate in Milan Fashion Week (17th to 23rd September) with her new col- lection as the winner of the “Winner For Mad Mood” category of this year’s Serbia Fashion Week. Also par- ticipating in the show will be celebrated Serbian jazz singer Lena Kovačević, whose voice and elegance will provide the show with a completely new glamour di- mension.
MEJSON MARGIJELA / MAISON MARGIELA
RIK OVENS / RICK OWENS
A nti-fashion raises serious ques- tions in times during which we’re overburdened by information, exposed to inconsistent fash- ion stances that are triggered by the most common material interests and where all boundaries have been destroyed. Beauty has become an imperative in contempo- rary art and culture is seriously challeng- ing authenticity. Contemporary fashion is based on various fusions between art and fashion, main- stream and avant-garde, fast and slow fash- ion. Everything is mixed, so a clear bounda- ry between formal fashion and its opposite has been lost. The whole concept emerged in the‘90s as a reaction to the previous fash- ion decade at a moment when the ideals of fashion were brought into question. Anti-fashion is an expression that tries to encompass certain phenomena in fashion that were previously egregious or don’t t into an established category or style of fash- ion, such as punk, grunge, conceptual fash- ion and even traditional clothing. It presents ways in which designers and fashion-con- scious individuals express resistance to the fashion establishment. If we were to describe anti-fashion in one word, that word would be stability, while fashion is synonymous with change. Moreover, simultaneously, all novelties are somehow anti-fashion. And that’s one of the paradoxes of fashion. The concept is closely related to the dynamics of fashion changes. In the 1920s, Gabrielle “Coco” Chanel sharply opposed then cur- rent fashion standards by suggesting that women wear what had until then been ex-
clusively men’s clothing. She created a look that was meant to make wealthy women vis- ually similar to ordinary women, of course for extraordinarily high sums of money, but in exchange for newly-acquired freedoms. Rudi Gernreich’s monokini in the 1960s rep- resented a serious anti-fashion concept, but also a sociological phenomenon, as were the worn designs of Rei Kawakubo in the ‘80s. This concept also encompasses every avant-garde design of Vivienne Westwood’s punk phase. It is clear that the entire con- cept is possible only in the context of for- mal fashion. Fashion and anti-fashion are in a serious relationship, with changes in fashion stimulated by anti-fashion, which emerges as a reaction to formal fashion. And here we shouldn’t confuse fashion trends that somehow make this year’s clothing dif- fer from last year’s, but rather really serious changes in terms of ways of thinking and the social circumstances that manifest in what we wear. Today, when it seems di cult to come up with something not seen before, there are certain approaches that succeed in stand- ing out. Contemporary fashion designers are turning to a conceptual approach to dress- making that is developing beyond fashion trends. Alongside technological innovations like 3D printers, there are also deconstruc- tions and experiments that link clothing and art installations. Some artists play with fa- miliar elements, but change their purpose to create unexpected designs, like Margiela. Another direction that’s catching on reminds us that we must slow down in our non-stop chasing of trends and start investing in basic items that have nothing to do with chang-
es in fashion, but which have an enduring value based on the test of time, authentic processing methods, dying or decorating. For instance, Birkenstock sandals are a gen- uine example of an anti-fashion item that has become a classic. Standing out among today’s designers who successfully irt with the anti-fashion concept, creating wearable and commercial designs, are the likes of Mi- uccia Prada, Christopher Kane, Rick Owens and Maison Margiela. The non-fashion concept promotes geo- graphical and social di erences, that which we popular refer to as originality and authen- ticity, while the fashion concept leaves the same stamp everywhere. Fashion has a clear- ly organised system for change, while every departure from those stipulated guidelines is anti-fashion. It is simple to conclude that this resistance to established norms is actu- ally the main driver of fashion in the modern world. Most anti-fashion styles from the 60’s have become modern. The 1950s gave us, along with various novelties, a serious fash- ion-based social rebellion of women who, instead of sickly sweet dresses, jumped into jeans and plaid shirts. The minimalist style that was current in the early‘90s and which implied black jeans and plain white t-shirts was characterised as non-fashionable, only to become a standard ten years later, pro- claimed awless and timeless. In its sim- plicity, the Normcore trend opposed pre- tentious and often uncomfortable fashion trends, and of it was born the massively pop- ular Athleisure style. And don’t be fooled: the anti-fashion approach is neither cheap nor easily accessible, but it is both original and authentic.
Gabrijel Koko Šanel prva se oštro suprotstavila važećim modnim standardima Gabrielle “Coco” Chanel was the first to sharply oppose current fashion standards
40 |
Made with FlippingBook interactive PDF creator