I haven’t much perused fashion blogs for some time now — in the last month at least I’ve reserved most of my allotted blog-reading for Days of Rage, the reinvigorated Wisconsin labor movement, Republican attacks on reproductive health and public education, and the spectacular fallout from the Sexual Nationalisms Conference in Amsterdam. But by chance I visited Fashion Toast, where photographs of the Pamela Love Fashion Week presentation at Milk caught my eye. These photographs and the models’ styling put me in mind of a ’70s occult film, the sort where a convent of devout nuns, uncannily situated atop a cliff in the wild British countrywide, is revealed to be the nefarious disguise for an ancient clan of Pictish priestesses! Awesome.
Some link love, in the meanwhile. Catherine Traywick penned this lovely review of Thuy Linh Nguyen Tu’s Beautiful Generation for Hyphen Magazine. These paragraphs in particular point to the importance of Tu’s theses for understanding the geopolitics and economics of much of the fashion criticism generated by 2011 New York Fashion Week:
Though [China and Korea's] fashion industries are fledgling yet, the transformative effort has plainly provoked anxiety within the Euro-American fashion industry; Nguyen Tu notes that the latter has subsequently striven to define itself as a global innovator by reinforcing the industry’s creative vs “unskilled” dichotomy. Euro-American designers are embracing technology, ever-reinventing familiar motifs and further distancing themselves from the mass-producing masses in an effort to maintain their global dominance.
Indeed, the defensive posturing and industry angst to which she alludes were in full swing at this year’s Fashion Week — in the self-aggrandizing speech of designers, on the ultra-modernized backs of models, and even in laudatory mainstream reviews. Commenting on Ralph Lauren’s collection, for instance, the New York Times’ Suzy Menkes repeatedly juxtaposed descriptions of the designer’s Shanghai-inspired aesthetic with disparaging references to the “fast fashion factories of today’s China” and Asia’s “Made in China”-quality mass productions.
Asian American designers don’t get off too easily either, falling as they do somewhere between artist and producer, American and foreigner. While critics extolled Ralph Lauren’s and Oscar De La Renta’s modernization of “tourist trap” Asian motifs, for example, they also repeatedly and simplistically categorized the commercial success of Asian American designers as the product of Asian consumption. Reviewing Anna Sui’s collection, Menkes patronizingly notes that “Ms. Sui may have had a big success in the Asia of her family origins, but her heart is forever in the England of swinging London, with its layers of history.” At Vogue, Hamish Bowles curiously remarks that Jason Wu’s “conservative” collection would never be as radically deconstructionist as those of the Japanese designer Kawakubo — notwithstanding the fact that their aesthetics are so radically different that they defy comparison; their only tangible similarity is their (albeit divergent) Asian heritage. Mark Holgale, also writing for Vogue, similarly makes much of Philip Lim’s connections to Asia, attributing the designer’s current and future successes to the voraciously consumptive Chinese — even as he notes that Chinese consumers are just as “familiar with everyone from Altuzarra to Rodarte.”
And Sami Khan writes for Stylecaster on Vogue‘s recent, head-in-sand profile of Asma al-Assad, the “glamorous, young, and very chic” wife of Syrian dictator, Bashar al-Assad. Add this to the long list of stories about the sartorial semiotics of autocrats’ wives! (When I have a free moment –ha!– I may address this list.) Khan astutely observes,
Despite what we’d like to think, in much of the world, glamour, style and Western-appearance are not synonymous with democracy and freedom. Many of the most brutal regimes in the world are run by families who were educated at fancy universities in England and America, do their shopping in Paris and their vacationing in Saint-Tropez, while back home attack helicopters are gunning down peaceful protesters.
While it’s unlikely that Vogue consciously timed the piece now to coincide with the current wave of protests sweeping across the Arab World, the article’s publication does seem a little unfortunate – especially considering the al-Assad regime has recently gone out of its way to harshly crack down on any democratic stirrings in Syria.
Max Fisher at The Atlantic also writes about Vogue‘s misstep, helpfully annotating the flattering portrait’s blindspots:
The article’s fawning treatment of the Assad family and its portrayal of the regime as tolerant and peaceful has generated surprise and outrage in much of the Washington foreign policy community, which for years has viewed Syria as one of the most dangerous and oppressive rogue states in a region full of them, with the Bush administration dubbing it the fourth member of its “axis of evil.” Bashar’s Syria has invaded Lebanon, allied itself with Iran, aided such groups as Hamas and the Iranian Revolutionary Guard Corps, and, for years, ferried insurgents and terrorists into Iraq, where they kill U.S. troops and Iraqi civilians. But the worst behavior may be inside Syria’s borders, where a half-century-old “emergency law” outlaws unofficial gatherings and abets the regular practice of beating, imprisoning, torturing, or killing political dissidents, human rights workers, and minorities.