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Moschino:The Italian behind the Name

February 8, 2018, 10:42 am
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ALTHOUGH most fashion followers are aware of the name Moschino, the man behind the name - and behind the irreverent Italian label - is perhaps less well known now. Franco Moschino, Italian fashion's "enfant terrible", rose to fame in the Eighties and was celebrated for parodying the "fashion victims" who rushed to buy his clothes.
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Known for his witty designs and outspoken comments Moschino subverted the time's "more is more" culture - emblazoning clothes with slogans like "Good Taste Doesn't Exist" and "Fashion, Fashoff" - and in doing so defined a decade. Encouraged by Gianni Versace as a young Milan painter in the early Eighties, Moschino was propelled to international fame in a matter of years, eventually shrinking from the industry that adored him.
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 “Life is becoming more like science fiction, violent stressful nasty. I’d rather talk to animals than people.”

The WWD revisits an interview with Moschino 24 years ago, shortly before the designer's death in 1994. Jones remembers Moschino's "unquestionably regardez-moi" designs and asks why no designer has yet replaced him.
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“I’m never 100 per cent happy with anything I’ve designed because my ego is very, very demeaning, and I have serious problems trying to keep it under control...I don’t think fashion has ever made me happy. It’s quite sad, really. I love my work sometimes, but I’m not sure that people understand it. No – I know they don’t understand it. But for me, it is only a game…”
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“I was surprised when I became successful in Italy, very surprised. The British are far more spontaneous than the Italians, and you have incredible traditions, but you know how to have fun with them. This is something unique to your country. I should have been born English because they understood me from the start. In Italy the press never really got it…They always thought that I was a bit odd.”
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"I’m not understood, and I never have been, I am a star because I’m different, but certainly not on my own terms...The ones who really understand it are the ones who can’t afford it, the people out there on the street.”
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“Funny clothes have to be extremely well made because that is where you find the chic. It’s easy to be funny with a T-shirt, but it’s more clever with a mink coat. After all, if caviar was cheaper it would taste much less interesting.”

“My approach is a contradiction, I know, but why not? Why should I have to embrace the fashion business just because I work in it? Why should I? It’s an absurd thing to many people but completely logical to me.”
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  “I don’t want to sound silly, but I feel sometimes as though I am in a golden prison. I can do exactly what I want, but in reality people expect me to do more of the same. A Moschino design must look and feel like the kind of Moschino design the public understand. Every year I’m expected to be just as banal, silly, stupid and vulgar as I have been in the past. Sometimes this business is just a horrible, horrible machine.”
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“People today are obsessed with money, sex, youth and fashion, and I would rather not be involved. You know, fashion is a sickness and young people today are born with shopping chromosomes, with a silly I-want-it-now mentality.”

“I married fashion – and it has been a good wife.”
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Jeremy Scott; Moschino Chandelier

February 8, 2018, 11:19 am
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AS A GIANT CHANDELIER dress swayed down a runway smothered with Persian rugs, tinkling past the broken furniture recalling 15th century, Puritan "Bonfire of the Vanities", the Moschino model paused under an archway - the better to show off the crystal creation.
KATY PERRY SUPPORTS JEREMY SCOTT AT MOSCHINO FALL/ WINTER  SHOW IN ITALY!
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Vivienne Westwood: "Society Criminals" Menswear

February 8, 2018, 12:14 pm
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Vivienne Westwood kicked off her spring-summer menswear show with a barely clad model, sporting a cropped top and high-cut briefs. Sporting a head wrap, the model finished his look with sandals dressed in a print that contributed to a thoughtful message about society’s criminals such as bankers and politicians that are disguised in a suit or tie.
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Playing to this note, the collection touched on individual pieces put together with a Bohemian spirit. Waging a war on the traditional suit, Westwood injected volume and a sense of fun, mixing various prints, one a reworked camouflage for a spontaneous but fantastic collection with character. From ripped tops and cropped joggers to knit tunics or photographic print leggings, Westwood delivered a zany charm in spades.
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Vivienne Westwood: "World Punk" Menswear

February 9, 2018, 7:06 am
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Vivienne Westwood could be spending exulting in a victory lap. Inspired by the Metropolitan Museum of Art, the eyes of the world turned back to punk, and so, inevitably, to her. Given that, punk's grande dame—and now its titled Dame—would surely be forgiven a retrospective.
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But Westwood hasn't wallowed; the former seditionary has remained seditious. She arrived at the Costume Institute Gala with a laminated photo of WikiLeaker Bradley Manning pinned to her dress, and she trotted out his image again for her menswear show, which she uses as much as a platform for her political agitating and consciousness raising as she does for fashion.
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Showrooms are for clothes. In a lengthy note on every seat, Westwood described starting the collection with India, springboard enough to consider the plight of the Indian poor, the environmental impact of those who are displacing them, and the governments who are profiting off the spoils. (Hers are the rare press releases that venture into Chomskyan polemics.)
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The Indian theme was a bit literal in parts, but on the whole, there were winners among the beautifully ombré pieces, as well as some of the lightweight checked linen. The profusion of tunics and swingy drawstring trousers—many accessorized with Manning's military beret—actually put Westwood in step with what some of her fellow designers are showing, albeit in more exaggerated (and drop-crotched) form.
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That might have made her blood boil—if she didn't have more pressing geopolitical matters to worry about.
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Vivienne Westwood: "Le Dejeuner sur l'Herbe" Menswear

February 9, 2018, 9:52 am
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Vivienne Westwood's invite re-created Le Déjeuner sur l'Herbe. It isn't hard to imagine her in sympathy with the defiant, inexplicably naked lay on the lawn. That's a very Westwood stance, and in fact, she's taken it before.
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She's picnicked for Spring in the past, but as she admits in the show notes, "Why not? We can recycle the grass stain and wine stain prints and insects from previous summer collections."
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Accordingly, the lot felt a bit remaindered. But among the odds and ends were some pieces sure to engage her fans, from blue and white striped tailoring to the peachy jeans she makes in collaboration with Lee.
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Dame Vivienne Westwood

February 9, 2018, 11:20 am
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Born Vivienne Isabel Swire in Glossop, Derbyshire, England, on April 8, 1941. Considered one of the most unconventional and outspoken

fashion designers in the world, Westwood rose to fame in the late 1970s when her early designs helped shape the look of the punk rock movement.


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 The grandmother of punk, Dame Vivienne Westwood, has just announced that she'll be writing her first official memoir. Written with the help of her historian buddy Ian Kelly and with contributions from friends in weird places - Julian Assange, Pam Anderson and Prince Charles, just to name a few — the book will hopefully give us tips on how to change the world just like Viv did. Or at least some really juicy stories from the 70s.





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Born Vivienne Isabel Swire on April 8, 1941, in the English town of Glossop in Derbyshire. She came from humble beginnings. Her father was a cobbler, while her mother helped the family keep ends meet by working at a local cotton mill.
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In 1971, Mclaren opened a boutique shop at 430 Kings Road in London and started filling it with Westwood's designs. While the name of the shop seemed to be in constant flux—it was changed five times—it proved to be an important fashion center for the punk movement. When Mclaren became manager of the Sex Pistols, it was Westwood's designs that dressed the band and help it carve out its identity.
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But as the punk movement faded, Westwood was hardly content to rest on her laurels. She's constantly been ahead of the curve, not just influencing fashion, but often times dictating it. After her run with the Sex Pistols, Westwood went an entirely new direction with her Pirate collection of frilly shirts and other attire. Her styles have also included the mini-crini of the 1980s and the frayed tulle and tweed suit of the 1990s. She's even proved it's perfectly possible to make a subversive statement with underwear. "Vivienne's effect on other designers has been rather like a laxative," English designer Jasper Conran once explained.
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"Vivienne does, and others follow."
Coupled with Westwood's unconventional style sense, is an outspokenness and daring that demonstrates a certain level of fearlessness about her and her work. In one famous incident she impersonated the Margaret Thatcher on the cover of an British magazine. To do so, she wore a suit Thatcher had ordered but not yet received, an act that made the Thatcher irate.
Still, Westwood's influence is hard to deny. Twice she has been named British designer of the year and was awarded the O.B.E. (Most Excellent Order of the British Empire) in 1992.
For more than 30 years, even after she had long made her fortune and fame, Westwood lived in the same small South London apartment, paying just $400 a month for the home and riding her bike to her studio in Battersea.
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In 1993, ten years after Westwood and Mclaren split, Westwood married for a second time, to her assistant, Andreas Kronthaler, who is 25 years her junior. Today, Kronthaler is her design partner. The couple resides in South London.
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There's More!
 Dame Vivienne Westwood's popularity knows no bounds. Her punk attitude is more alive now than in the movement's Seventies heyday and her outspoken, Union Jack waving Englishness (with a few added safety pins and tea stains), is undiminished. Cutting edge but classic, her collections are unflinchingly rooted in her interests and beliefs, whether it is human rights or classical fiction.
  • In 1981, Westwood showed her first seminal collection in London, entitled Pirate
  • In 1990, Westwood launched a menswear collection in Florence. She was named British Designer of the Year that year, as well as in 1991
  • In 1998 she won the Queen's Export Award
  • In January 2003 Westwood controversially sent men down her catwalk wearing fake breasts. The models for her autumn/winter 2003 menswear collection wore them underneath cashmere sweaters and polo necks.Westwood explained that, "the inspiration for the man with breasts was Fifties sweater boys."
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  • Explaining the roots of her beliefs she said: "When I was a schoolgirl my history teacher, Mr. Scott, spoke with pride of civilisation and democracy. The hatred of arbitrary arrest by the lettres de cachet of the French monarchy caused the storming of the Bastille. We can only take democracy for granted if we insist on our liberty."
  • Westwood's son by McLaren, Joe Corre, is the founder of Agent Provocateur, while her other son, Ben, is an erotic photographer. In 2008 her mother Dora attended her latest book launch for Opus, an arts manifesto costing £1400 per copy.
  • In 2008 she put paid to rumours that she wasn't impressed with
    the wardrobe of the first Sex and the City film. "I stayed
    throughout the film, and was overjoyed to see Sarah Jessica in her
    beautiful wedding dress," Westwood told British
    Vogue    ,"Furthermore, I have been delighted to notice recently
    how well young girls are dressing, and that they have clearly been inspired by the film."
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  • Pamela Anderson is Vivienne Westwood's long-time friend and signed a reported six figure deal to become the new face of Vivienne Westwood in 2008. In 2009 she graced the catwalk at Westwood's autumn/winter 2009-10 collection in London.
  • In 2010 she was honoured at a ceremony for the Prince Philip Designers Prize. Westwood received a special commendation for her contribution to design from HRH The Duke of Edinburgh.
  • Alongside her fashion range she launched a range of stationary in 2010 including notebooks and diaries in classic Westwood prints. She made her mark on the interiors world the same year with a selection of new table-cloth designs in support for eco charity Cool Earth. The designs were covered with bold, bright prints often with Westwood's trademark political polemics emblazoned across.
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  • In 2011 she was named Britain's Greatest British Fashion Designer in a poll conducted by Greenall. Over 3000 people voted with the Westwood scooping 24 per cent of the national vote.
  • She dedicated her spring/summer2012 menswear show to the Olympics. Westwood made sure each catwalk look referred to the Games in some manner including T-shirts that came covered in printed torches, medals and statuesque Greek figures.
  • Vivienne Westwood and photographer Juergen Teller went to Africa in 2011 to work on her autumn/winter 2011-12 Ethical Fashion Africa collection. A programme which enlists thousands of local women to use their skills to produce bags for Westwood and earn a fair wage in return. "This project gives people control over their lives," she said. "Charity doesn't give control, it does the opposite, it makes people dependant."
In 2011 she joined the Occupy London anti-capitalist protesters outside St Paul's Cathedral. She has often outlined her concerns for climate change and during a talk at the V&A in 2009 Westwood said: "There is hardly anyone left now who believes in a better world."
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    Never shy of controversy, Westwood complained of the lack of style in society. "People have never looked so ugly as they do today, regarding their dress," she told journalists after her Red Label show in London. "We are so conformist, nobody is thinking. I'm a fashion designer and people think 'what do I know?' but I'm talking about all this disposable crap. So I'm saying buy less, choose well, make it last…in history people dressed much better than we do. If you saw Queen Elizabeth it would be amazing, she came from another planet. She was so attractive in what she was wearing."
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    • To celebrate the Queen's Diamond Jubilee, she launched a new capsule collection inspired by gowns Queen Elizabeth had previously worn. The range, entitled the Red Carpet Capsule Collection, also paid homage to the British flag.
    • In 2012 Westwood criticised plans of a London council to ban charity Scope from basing its clothing banks on council-owned land. A keen supported of charity shops she told theEvening Standard:"Charity shops are part of the fabric of our great city, but this short-sighted approach is totally unfair and damages charities at the expense of a quick buck."
    • Vivienne Westwood credited London and its thriving culture scene as her biggest inspiration in a film for the Tate Britain's 'This Is Britain' campaign. "The great thing about London for me is the culture - the museums," the designer said in the film. Image may be NSFW.
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    In 2012 Westwood triggered controversy when she created a
    T-shirt in support of Julian Assange. The T-shirts were given to
    her guests to wear front row at her spring/summer 2013 show. "I'm a big supporter of Julian Assange," Westwood told
    Reuters.She selected the grand setting of the British Foreign and Commonwealth Office to show her spring/summer 2013 Red Label collection. The choice of the venue was a result of Westwood's involvement in the government's GREAT campaign. The designer fronted an international campaign as part of the initiative, which celebrated excellence in the creative industries, while promoting Britain as the preeminent place to study, visit or invest.
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    • In 2012 she partnered with The Woolmark Company to create a
      luxury 12-piece-collection made from the finest Australian merino
      wool. "When I first began as a fashion designer, well over 30 years ago, I succeeded in re-introducing into fashion the idea of
      knitwear, the English twinset," Westwood told British
      Vogue. "Wool is one of the world's great natural fibres,
      famous for its versatility and comfort-warm in winter, cool in
      summer."
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    • In January 2013 she helped rebrand the English National Ballet with a new campaign that shows the ballet dancers wearing her creations. "It's a dream come true to be able to collaborate with someone of such stature," said Tamara Rojo, the English National Ballet's artistic director. "Her designs capture the creativity and ambition of our dancers who, in turn, add drama and movement to the clothes."
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    Vivienne Westwood: "19th Century Dolls" RTW

    February 9, 2018, 11:39 am
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    The sight of Carla Bruni in a faux fur thong was guaranteed to turn heads. What was truly shocking about this show was the fact that Vivienne Westwood
    ’s new silhouette was created with the help of bustle-like padded bottoms. “I never mean to be naughty,” the flame-haired designer told Vogue at the time.
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     “It’s just a question of adjusting the eyes. It’s only perverse because it is unexpected.” With On Liberty, Westwood continued her exploration of historicism and female sexuality and delivered it with a British sense of humor. Critic Bernadine Morris described the models being “dolled up like 19th-century dance-hall girls pretending to be ladies,” further noting that “they spoofed themselves as well as fashion.”
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    Vivienne Westwood: "Royal Court" RTW

    February 9, 2018, 12:10 pm
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    Vivienne Westwood staged her Red Label show at London's Royal Courts of Justice, a venue that at first blush seemed an ill fit. What on earth was England's grand dame of helter-skelter fashion doing in George Street's august Victorian Gothic gallery, which operates by day as the lobby for actual courts of law?
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     Then, as the models began strutting down the catwalk clad in this season's grab bag of Red Label looks, the location started to make a kind of wacky sense. The Royal Courts are where civil suits are heard, and if you want to observe the crazy variety of human life in London, which was the overarching theme of Westwood's collection, the courts where people go to sue their neighbors and get divorced is probably as good a place as any.
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    Anyway, the clothes. This was a more disciplined collection than the one Westwood showed last season, which isn't saying all that much. The theme of Britishness—in particular the eclectic Britishness to be observed around Portobello Market on an average Saturday—gave Westwood an easy through-line for her ideas.
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    Lots of plaid and pinstripe, a fair amount of riding-habit velvet, some chunky marled knits, plus garments inspired by bankers' shirting and prep-school uniforms: presto, the human comedy, West London style. Sprinkle with confetti bursts of neon feathers to taste.
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    There were, as usual, too many of Westwood's overworked garments here, like a weirdly bunched button-down minidress in broadcloth blue, with ungainly pleating at the shoulder. Westwood's big eccentricities, like those confetti feathers, are winning; her little ones often feel like contrivances. That said, there were a number of clever, wearable garments: Westwood came up with a great abstract print for her silk taffetas this season, which she twisted and tailored into a bunch of fine cocktail looks, and her awkwardly cut suits in velvet and check had a nice dandyish feel.
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    She also sent out one of this season's really good pieces of outerwear: a simple wool coat set askew, as though someone had buttoned it the wrong way and decided she liked the rakish look. There was a lot to like, in fact, if you were willing to dig for it. In that way, the collection really did feel like a day at Portobello.
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    John Galliano: "Historical & Mythical" Menswear

    February 9, 2018, 3:05 pm
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    THE word "restraint" isn't in John Galliano's vocabulary. For his autumn/winter  menswear show, the designer - responsible for Dior's magnificently insane couture shows - decked his huge, courtyard runway with thousands of flickering candles and heaps of Swarowski crystals.

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    His references for the collection were drawn from four different historical and mythical contexts (as if one wasn't enough), and the runway show was the usual wildly styled extravaganza, with models dressed variously in fur satyr pants, lace knickers, huge regency wigs and tricorner hats.
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    Mad as it was, there were a lot of attractive details in the collection, including interesting cuts and gathers on the sleeves of 18th Century-inspired shirts and sporty blousons, hand embroidery on long, wide-lapelled frock coats, and great, wallpapery prints on sweatshirts.
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    John Galliano: Back to His Roots

    February 9, 2018, 3:29 pm
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    John Galliano briefly boards the number 12 to Oxford Circus, and a passenger’s jaw literally drops. With his otherworldly air, the elusive Maison Maison Margiela designer is the last person you’d expect to see at an Elephant and Castle bus stop on a rainy afternoon.
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    “They’re so luxurious now,” he observes, gawping at the spacious buses that replaced the trusty Routemasters of his childhood. “You’d leave home quite normal-looking, with a bag, and start getting dressed on the bus, putting on your spot cover-up, glossing up the lips, brushing up that wedge,” he quips. On our way to the shoot, he’s been watching his formative years pass by from the car window. “I don’t remember any of these little things.
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    It’s completely changed, hasn’t it?” The Heygate Street bus stop was young Galliano’s portal to the escapism of the West End as a teenager growing up in southeast London in the 1970s. He even had his first kiss here. “When you got to the Elephant,” he explains, “it was like crossing a frontier to a glamorous new world.”
    He’d take the 12 or 68 here, then get the Tube into town. “Pubs in Soho had sawdust on the floor…” He stops himself. “I’m really sounding about 100, aren’t I? But they did! There were girls in raincoats modelling upstairs. It’s not what it is today,” the 56-year-old shrugs. Galliano felt at home in Soho’s theatrical nightlife, worlds away from the part of town where he’d spent his childhood.
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    “The real you starts coming out. The you you’re not always allowed to show.” If he missed the last bus, he’d have no choice but to walk home to Peckham in the middle of the night, down the Old Kent Road and Lordship Lane, in his fantastical outfits. “When you’re young you’re fearless, aren’t you? Someone guides us safely home.” He’s lived in Paris for decades now, but Galliano’s accent still bears traces of his south London roots, although his diction – courtesy of his early education at Wilson’s School for Boys in Camberwell – has made it more palatial than Peckham. “It isn’t now, but it was really very rough,” he says of his childhood area. “Loved it.”
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    Galliano was six when his family relocated from sunny Gibraltar to southeast London, and the multicultural melting pot would forge the foundation for his sensory view of fashion. Since he started interpreting Maison Margiela’s trademark deconstruction in 2015, his collections have reflected a make-do-and-mend attitude close to his early fashion efforts. “To make yourself look original you customised things. That’s a very south London thing,” he explains. Early design experimentations included an old Levi’s denim jacket from a charity shop, on to which Galliano zigzag-stitched playing cards with bright-coloured thread. As a teenager he’d shop his way through the area: Coldharbour Lane, Brixton market and East Lane. “It was really good there, because you’d get knock-offs.” His bedroom had a rotation of posters on the walls, from the Bay City Rollers, Slade and Marc Bolan to Bruce Lee.
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    As a Central Saint Martins student in the early 1980s, he moved to Mornington Crescent, got into Bodymap and Boy George, hung out with Steve Strange and Rusty Egan, and went clubbing at Embassy and Taboo. “I graduated in 1984, the Thatcher years – your back up against the wall, no grants. You became really creative with the means you had. That was the period when all that deconstruction was actually happening for real in London, but we didn’t know.” When Galliano finally got his first grant, he blew it on a Claude Montana trench coat from Browns. “A sheepskin collar, a few little studs – I chose very wisely. You don’t really think any further than the next day when you’re that age.”
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    Perched on the bus-stop bench in his beret and furry Prada moccasins, he throws a Tesco plastic bag over his arm as if it were an evening purse. It’s the innate sense of appropriation that’s followed Galliano through four decades in fashion. Proposing a “new glamour”, his latest haute couture collection for Maison Margiela glamorised the unglamorous – an old men’s coat, a cardboard box. “Elephant and Castle is really glamorous,” he insists. “Underneath one of the subways was a Wimpy, with the ketchup in a plastic tomato. When you had pocket money you’d go for a Wimpy and chips.” Providing, of course, you hadn’t spent it on a night out in Soho. “You didn’t think to save a few shillings,” Galliano reminisces. “That’s why Elephant and Castle is so meaningful to me. I’m nearly home, nearly safe, and still alive.”
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    John Galliano: "Road Warriors on Venice Beach" Menswear

    February 9, 2018, 4:06 pm
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    Like a movie, every fashion show is a collaboration, but John Galliano's productions push that notion to the max. (The body paint alone in this show must have taken teams of people to perfect.) The stated theme in theory was a relatively comprehensible—for Galliano—"Road Warriors on Venice Beach."
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    The reality was a pell-mell plunge into just about every variety of modern militarism one could think of. Yes, there were road warriors in a cyberpunk sequence that highlighted neon Mohawks, the aforementioned body paint, and perhaps some underwear.
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    And yes, the Venice Beach ambience was reflected in a general tattoo-and-piercing indulgence on the part of the mannequins. For the rest, it was all about war, from Galliano's name spray-painted MAS*H–style on the floor of the venue (a church!—a Galliano-perverse venue in which to mark the evil that men do), to the helicopter thrum promising Apocalypse Now as the show opened to mud-caked grunts working the catwalk in silky combats and not much else.
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    Any clothing of substance was worn by arms-dealer look-alikes sporting unlikely satin bondage pants and taffeta coats along with their Arab headdresses and huge stogies, or the Black Panthers who rather extraordinarily patrolled the catwalk in multipocketed nylon military jackets.
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    Galliano's profligate willingness to spin a show out of the most unlikely elements knows no bounds—the model in the stick-on beard might have been Castro or Bin Laden—so anyone with an eye to singling out something as banal as a commercial possibility must edit like a demon: There were Arabic-influenced prints, pieces with wire-stiffened definition, and tricksy camo items that looked promising. Johnny Rotten chanting "World Destruction" on the soundtrack was possibly closer to the real mood of the collection than any specific piece of clothing.
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    John Galliano: "Black Swan Ballet" Menswear

    February 9, 2018, 4:07 pm
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    Ballet is enjoying a cultural moment, high at the Ballets Russes exhibition at London's Victoria & Albert Museum, low in the campy horrifics of Black Swan.
    Tipping his cap to the trend, John Galliano ambitiously settled on primus ballerinus Rudolf Nureyev, a figure who effortlessly bridged both extremes.
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    Rudie was a Tartar and a tart, which makes him perfect fodder for Galliano's own taste for the grandly barbaric and the lushly homoerotic. And this time, the ever-changing drama of Mother Russia provided the backdrop.
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    So the show opened with a harried horde of Russian emigrés in great big coats, tufty shearling, and military jackets (more tips of the cap to flavors of the moment). Then Nureyev defected to the West and started wearing tightly tailored pantsuits and caps as a curious analogue of Judy Garland (in Galliano's eyes at least), all the while working himself into a lather at the barre. That gave Galliano the opportunity to parade sweat-soaked workout wear on Simon Nessman, though the model was surely grateful to be wrapped in a chunky puffa.
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    The final passage of eveningwear garbed the dancer for glittering, embroidery-crusted nights on the town in the kind of Cossack finery that would once have been catnip to Galliano. Why, then, did it feel less than exuberant? In fact, the whole show had a flat, low-budget feel. That wasn't even induced by something as banal as commerce compromising creativity. More likely, it was a simple matter of Nureyev himself not being such perfect fodder for Galliano after all, too real perhaps to sustain the kind of blinding fashion fantasia the man has unleashed on us in the past when's he looked to the Ballets Russes for inspiration.
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    John Galliano: "Edgar Allen Poe's Masque of the Red Death" Menswear

    February 9, 2018, 4:22 pm
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    Backstage, John Galliano was wearing a worn-out leather jacket with a blurry mustachioed face painted on the back. He insisted it was Einstein, but it looked just like Edgar Allan Poe, which worked because Poe's "The Masque of the Red Death" was as good a reference point as any to launch a dissection of Galliano's latest fashion delirium.
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    That story's depiction of a decadent society partying itself to death rang those odd sociopolitical bells that Galliano willfully gongs on a regular basis. He blithely quipped that his underwear licensees would be cheered by a middle passage of bruised, bloodied models in skimpy underthings, but there were those in the audience who saw echoes of Clive Barker's Hellraiser—or Abu Ghraib.
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    Galliano claimed inspiration from the "frost fairs" of Tudor England, when the Thames would freeze over and the entire community—from aristos to lowlifes—would turn out to party on the river. The designer saw his first group as princelings moving among the people, with their gilded hair and Tudor-look outfits artfully bunched and wrapped from parkas, shearlings, jackets, and coats.
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    None of the mannequins seemed to actually be wearing the clothes they had on, but we got the picture (and if your eye for detail could penetrate the farrago, there were items as beautiful as a jacket with metal-beaded hem and sleeves, and a fur-trimmed parka with oriental dragons scrolling up its sleeve). Holbein's portrait of Henry VIII was a big influence, apparently, and there was definitely a Tudor volume in the doublet-and-hose effect of big black velvet parkas trimmed in fur.
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    Thus ended our fashion show for the evening. Then began the descent into Galliano's Chamber of Horrors—the torturers, the tortured, the carnival in hell that closed the presentation, with the devil's jester minions capering on humanity's grave. Gee, someone's gotta do it, and it might as well be Galliano, with a sense of theatricality so acute it makes one wonder whether he's missed his calling.
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    No, the designer enthused backstage, he's actually selling clothes. "It's about time we did some advertising and opened a shop for Galliano Homme," he declared pointedly. After a collection like this, it's no wonder he craves a bigger stage.
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    The Corset reclaimed by the Fashion Industry!

    February 11, 2018, 9:00 am
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    Clik here to view.     Letting loose … Madonna in a Jean-Paul Gaultier corset and street style stars.
    Let loose: how the corset is being reclaimed by the fashion industry !
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    Clik here to view.     The Mainbocher Corset photograph, taken by Horst P Horst in 1939.


    From the Victorians to Vivienne Westwood, the punks to Prada – the corset has a long and chequered history. But now, this underwear is being reclaimed as street-style outerwear......hey were a staple garment of the Victorian upper classes, and seen by some as a symbol of an oppressive desire to control and stifle the female form to suit the male gaze. But well over a century later, corsets are making a comeback, suiting the spirit of a very different age.
    Reclaimed most notably by high fashion’s feminist designer Miuccia Prada, as part of her AW17 collection last year, corsets have become the biggest look in the street-style universe this season. Punk, of course, got here first in the 1970s, with its overtly sexual – and anti-establishment – take, as Vivienne Westwood famously brought corsets to the runway.
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    And when Madonna wore a Jean-Paul Gaultier conical-busted corset on her 1990 Blond Ambition tour, she was making a case for it as a symbol of female sexual empowerment.
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    What feels new and potentially feminist about some of the current corset variations is their lack of adherence to traditional ideals of the female form, to “sexiness”, or any notion of what the so-called male gaze might usually choose to linger on.
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    Kim Kardashian was an early adopter: she was most recently spotted wearing a corset teamed with tracksuit bottoms and a puffer jacket. Now they have reached the high street, too – stocked from Asos to Mango, Zara, Finery and Topshop. And they are big business. Sian Ryan, head of design at Asos, says sales have been “amazing” since the end of last year, with the corset belt proving particularly popular.
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    It may seem an unlikely trend, especially given the current spotlight on feminism, both on and off the catwalk, but this last bastion of fashion is undergoing a very modern retelling. Designers aren’t doing the whole whale-boned thing, but corset belts, T-shirts with corsets overlaid, shirts with corset lacing, or those awful 1990s corset bags we thought were long gone, are very much in.
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    Garments such as Kitri’s lace-up-sleeve shirts are playing with the look, if not the cinching. And today sees the release of Rihanna’s Fenty x Puma collection, complete with pink trousers with laced-up slits down the side, another nod to the corsetry aesthetic.
    But can the garment ever fully shake off its patriarchal trappings? It seems unlikely. However, as with the reclamation of pink by modern feminism, might it be possible for the symbolism of the corset to be subverted and given a more feminist-friendly narrative?
    Valerie Steele, a fashion historian and author of The Corset: A Cultural History, thinks it can: “The meaning of any item of clothing is not embedded in the clothing itself; it’s something we create and are constantly renegotiating.”
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    But for the corset to come to represent something other than fainting Victorians will take a powerful rebranding. Kardashian-esque waist-training to one side, the rigid, rib-crunching undergarment of the 18th and 19th centuries has given way to softer fabrics and looser fits. Natasha Goldenberg, one of the street-style stars summoned for inspiration, likes to wear hers “on a sweater, on top of a fitted coat” or over a dress.
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    Another, Sofie Valkiers, wears hers over black leather or a gingham dress, or pairs it “with a simple turtleneck and cropped trousers”. Valkiers says what first attracted her to the corset was a very modern preoccupation. “The trend is perfect for adding a sophisticated touch to oversized clothes.”
    Corsets fit, loosely, with the shape that has dominated the catwalks this season – a sort of softened hourglass, where waists can be fitted but are certainly not cinched. At the Prada AW16 show that jump-started fashion’s current fascination, fabric corset belts were worn over chunky overcoats, or wonky and loosely laced adorning oversized shirts.
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    Madonna’s version was a distant cousin of the garment designed “to be respectable or look upper class”, says Steele. “It was seen as a kind of defiant wearing of taboo clothes … It was sort of saying fuck you, I’m a sexual being.”
    Of course, one person’s two fingers up to the patriarchy is another’s “pandering to male sexual fantasies”. But underwear as outerwear caught on and grew to be something as likely to be seen in your local shopping centre as on stage.
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    Some of this season’s street-style stars are keenly aware of the corset’s “sexy” side. There is, says Goldenberg, “nothing sexier”. And yet it was Prada’s almost anti-sexy version that inspired her to wear it. “When Miuccia Prada showed us how to wear the sexiest thing in all of fashion history with socks, chunky sweaters, big coats and massive boots – that’s when I fell in love with it.”
    And for Steele, it boils down to choice. From Madonna’s raunch to Prada’s more reined-in approach.
    “The point is that it’s not something that others are deciding for us any more. You don’t have the pressure of society, or your mum, or grandma saying you’ve got to wear a corset or people will be shocked. It’s like, I’m doing this myself – say it’s a mistake if you want, but it’s my choice.”
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    Clik here to view.     Worn wonky over an overcoat … a corset at the Prada AW16 show, Milan Fashion Week.    Image may be NSFW.
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    Men in Corsets!

    February 11, 2018, 10:04 am
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    Men have been wearing corsets since the 18th Century, and contrary to popular belief, they’ve never stopped! The desire for a shapewear garment whether decorative, super functional, or both, has never been limited to one gender. Corset Connection prides itself on being a judgement free zone for folks of all genders and gender-variance, and the diversity of our products reflects that.
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    Especially in the late 1700s and early 1800s, high fashion for men called for form-fitting trousers and jackets.   Some men wore corsets to create the required smooth silhouette.  By the mid-1800s, however, the few men who wore fashion corsets were more commonly subjects of ridicule.
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    If your main association with shapewear is that for the female form — from long-ago whalebone to Kim’s waist trainer— you may want to visit the “Fashioning the Body” exhibit, which recently opened at the Bard Graduate Center on the Upper West Side. There you’ll see all manner of shapewear for men and even children. (Apparently, even the junior set was not exempt from foundation garments.) Curator Denis Bruna, who has been with the exhibit since it opened at Les Arts Décoratifs in Paris, walked the Cut through some of the most unusual underpinnings adopted by dandies over the course of the 18th and 19th centuries, from padded calves to wasp-waisted jackets.
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    “The breeches in the 18th century were short and stopped right below the knee, so it was desirable to have a nice S-curve to the calves,” Bruna explained, thus the popularity of socks with interior padding. “Around 1820, men wore corsets, certainly for the first time in the history of clothes,” he added, “because it was important to have a very tight and thin waist.”
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    The redingote, a Francophone mispronunciation of the English riding coat, was another popular style favored by dandies for its ability to create that enviable hourglass shape. Redingotes often featured padding as well, Bruna explains, “to accentuate the volume of the torso and the smallness of the waist.
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    And most important for the dandy was the cravat, because it was a very difficult exercise to make a beautiful knot.” (If there was even the tiniest dimple in the knot, he says, they started over.)
    When dandy style migrated to France from England in the 1830s, it was much mocked in the press. “It was a small phenomenon, but only in the very intellectual [classes] — artists, writers.
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    But the style was criticized because men would spend time in front of a mirror arranging their cravats. The criticism was ‘This isn’t a men’s activity; it’s a women’s one.’ Dandies were considered very feminine.”
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    And while it began to fade away mid-century, some aspects of dandy style are still a part of men’s fashion, principally the use of black. “If we look at the street now,” Bruna points out, “most men wear black clothes, and at the time it was considered a very smart color, and we have kept black as the [traditional] color for evening clothes, like the tuxedo.” So remember: The next time you suit up in black-tie, you have some centuries-old sartorial pioneers to thank.
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    February 11, 2018, 11:13 am
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    Outside Western cultures, men's clothing commonly includes skirts and skirt-like garments; however, in North America and much of Europe, the wearing of a skirt is today usually seen as typical for women and girls and not men and boys, the most notable exceptions being the cassock and the kilt.
    People have variously attempted to promote the wearing of skirts by men in Western culture and to do away with this gender distinction albeit with limited general success and considerable cultural resistance.


    Skirts have been worn since prehistoric times. They were the standard dressing for men and women in all ancient cultures in the Near East and Egypt.
    The Kingdom of Sumer in Mesopotamia whose greatest achievement was the invention of writing recorded two categories of clothing. The ritual attire for men was a fur skirt tied to a belt called Kaunakes.


    The term kaunakes, which originally referred to a sheep's fleece was later applied to the garment itself. The animal pelts originally used were replaced by kaunakes cloth, a textile that imitated fleecy sheep skin.[.Kaunakes cloth also served as a symbol in religious iconography, as the fleecy cloak ofSt. John theBaptist.
    Depictions of kings and their attendants from the Old Assyrian Empire and Babylonia on monuments like the Black Obelisk of Salmanazar show men wearing fringed cloths wrapped around their sleeved tunics.

    Ancient Egyptian garments were mainly made of white linen. The exclusive use of draped linen garments and the wearing of similar styles by men and women remained almost unaltered as the main features of Ancient Egyptian costume. From about 2.130 BC during the Old Kingdom of Egypt, men also wore wrap around skirts (kilts) known as the shendyt, They were made of a rectangular piece of cloth wrapped around the lower body and tied in front.

     By the Middle Kingdom of Egypt there was a fashion for longer kilts, almost like skirts, reaching from the waist to ankles, sometimes hanging from the armpits. During the New Kingdom of Egypt kilts with a pleated triangular section became fashionable for men.Beneath was worn a triangular loincloth, or shente, whose ends were fastened with cord ties.

    In Ancient Greece the simple, sleeved T-shaped tunics were constructed of three seamed tubes of cloth, a style that originated in the Semitic Near East, along with the Semitic-based word khiton, also referred to as a chiton. The belted worn linen chiton was the primary garment for men and women.

    The Romans adopted many facets of Greek culture including the same manner of dressing. The Celts and Germanic peoples wore a skirted garment which the historian Diodorus Siculus (fl. 1st century BC) called chiton. Below they wore knee-length trousers. The Anglo-Saxons, Normans, Franks and other people of Western and Northern Europe continued this fashion well into the Middle Ages, as can be seen in the Bayeux Tapestry.



    Technological advances in weaving with foot-treadle floor looms and the use of scissors with pivoted blades and handles in the 13–15th century led to new designs. The upper part of dresses could now be tailored exactly to the body. Men′s dresses were buttoned on the front and women′s dresses got a décolletage. The lower part of men′s dresses were much shorter in length than those for women. They were wide cut and often pleated with an A-line so that horse riding became more comfortable.


     Even the armor had a short metal skirt below the breastplate. It covered the straps attaching the upper legs iron cuisse to the breastplate.


    The innovative new techniques specially improved tailoring trousers and tights which designs needed more differently cut pieces of cloth than most skirts. “Real” trousers and tights increasingly replaced the prevalent use of the hose (clothing) which like stockings covered only the legs and had to be attached with garters to underpants or a doublet. A skirt-like garment to cover the crotch and bottom was no more necessary. In an intermediate stage to openly wearing trousers the upper classes favoured voluminous pantskirts and diverted skirts like the padded hose or the latter petticoat breeches.

    Though during most of history, men and specially dominant men have been colourful in pants and skirts like Hindu maharajas decked out in silks and diamonds or the high heeled King Louis XIV of France with a diverted skirt, stockings and long wig. The French Revolution and the Industrial Revolution changed the dress code for men and women not only in France. From the early Victorian era, there was a decline in the wearing of bright colours and luxurious fabrics by men, with a definite preference for sobriety of dress.[

    This phenomenon the English psychologist John Flügel termed “The Great Masculine Renunciation”. Skirts were effeminized. “Henceforth trousers became the ultimate clothing for men to wear, while women had their essential frivolity forced on them by the dresses and skirts they were expected to wear”. By the mid-20th century, orthodox Western male dress, especially business and semi-formal dress, was dominated by sober suits, plain shirts and ties. The connotation of trousers as exclusively male has been lifted by the power of the feminist movement while the connotation of skirts as female is largely still existing leaving the Scottish kilt and the Albanian and Greek fustanella as the only traditional men′s skirts of Europe.

    In the 1960s, there was widespread reaction against the accepted North American and European conventions of male and female dress. This unisex fashion movement aimed to eliminate the sartorial differences between men and women. In practice, it usually meant that women would wear male dress, i.e., shirts and trousers. Men rarely went as far in the adoption of traditionally female dress modes. The furthest that most men went in the 1960s in this regard were velvet trousers, flowered or frilled shirts and ties, and long hair.

    In the 1970s, David Hall, a former research engineer at the Stanford Research Institute (SRI), actively promoted the use of skirts for men, appearing on both The Tonight Show Starring Johnny Carson and the Phil Donahue Show. In addition, he was featured in many articles at the time. In his essay "Skirts for Men: the advantages and disadvantages of various forms of bodily covering", he opined that men should wear skirts for both symbolic and practical reasons. Symbolically, wearing skirts would allow men to take on desirable female characteristics. In practical terms, skirts, he suggested, do not chafe around the groin, and they are more suited to warm climates.
    In 1985 the French fashion designerJean-Paul Gaultier created his first skirt for a men. Transgressing social codes Gaultier frequently introduces the skirt into his men′s wear collections as a means of injecting novelty into male attire, most famously the sarong seen on David Beckham. Other famous designers such as Vivienne Westwood, \Giorgio Armani, John Galliano, Kenzo, Rei Kawakubo and Yohji Yamamoto also created men's skirts.

    In the US Marc Jacobs became the most prominent supporter of the skirt for men. The Milan men′s fashion shows and the New York fashion shows frequently show skirts for men. Jonathan Davis, the lead singer of Korn, has been known to wear kilts at live shows and in music videos throughout his 18-year career with that band. Mick Jagger from the Rolling Stones and Anthony Kiedis from the Red Hot Chili Peppers were photographed wearing dresses by Anton Corbijn. For an FCKH8 antidicrimmination campaign Iggy Pop was seen wearing a black dress and handbag.

     Guns N' Roses' singer, Axl Rose, was known to wear men's skirts during the UseYour Illusion period. Robbie Williams and Martin Gore from Depeche Mode also performed on stage in skirts. During his Berlin time (1984–1985) Martin Gore was often seen in public wearing skirts. In an interview with the Pop Special Magazin (7/1985) he said: „Sexual barriers and gender roles are old fashioned and out. [...] I and my girlfriend often share our clothes and Make-up“. Brand Nubian Lord Jamar criticized Kanye West wearing skirts, saying that his style has no place in hip-hop.
    In 2008 in France, an association was created to help spur the revival of the skirt for men. Hot weather has also encouraged use. In June 2013, Swedish train drivers won the right to wear skirts in the summer when their cabins can reach 35 °C (95 °F), whilst in July 2013, parents supported boys wearing skirts at Gowerton Comprehensive School in Wales.

    In 2003, the Metropolitan Museum of Art displayed an exhibition, organized by Andrew Bolton and Harold Koda of the Museum's Costume Institute and sponsored by Gaultier, entitled Bravehearts: Men in Skirts. The idea of the exhibition was to explore how various groups and individuals (from hippies through pop stars to fashion designers) have promoted the idea of men wearing skirts as "the future of menswear". It displayed men's skirts on mannequins, as if in the window of a department store, in several historical and cross-cultural contexts.
    The exhibition display pointed out the lack of a "natural link" between an item of clothing and the masculinity or femininity of the wearer, mentioning the kilt as "one of the most potent, versatile, and enduring skirt forms often looked upon by fashion designers as a symbol of a natural, uninhibited, masculinity". It pointed out that fashion designers and male skirt-wearers employ the wearing of skirts for three purposes: to transgress conventional moral and social codes, to redefine the ideal of masculinity, and to inject novelty into male fashion. It linked the wearing of men's skirts to youth movements and countercultural movements such as punk, grunge, and glam rock and to pop-music icons such as Boy George, Miyavi and Adrian Young.  Many male musicians have worn skirts and kilts both on and off stage. The wearing of skirts by men is also found in the goth subculture.


    Elizabeth Ellsworth, a professor of media studies, eavesdropped on several visitors to the exhibition, noting that because of the exhibition's placement in a self-contained space accessed by a staircase at the far end of the museum's first floor, the visitors were primarily self-selected as those who would be intrigued enough by such an idea in the first place to actually seek it out. According to her report, the reactions were wide-ranging, from the number of women who teased their male companions about whether they would ever consider wearing skirts (to which several men responded that they would) to the man who said, "A caftan after a shower or in the gym? Can you imagine? 'Excuse me! Coming through!'". An adolescent girl rejected in disgust the notion that skirts were similar to the wide pants worn by hip-hop artists. Two elderly women called the idea "utterly ridiculous". One man, reading the exhibition's presentation on the subject of male skirt-wearing in cultures other than those in North America and Europe, observed, "God! Three quarters of the world's population [wear skirts]!"

    The exhibition itself attempted to provoke visitors into considering how, historically, male-dress codes have come to this point and whether in fact a trend towards the wearing of skirts by men in the future actually exists. It attempted to raise challenging questions of how a simple item of dress connotes (in Ellsworth's words) "huge ramifications in meanings, behaviours, everyday life, senses of self and others, and configurations of insider and outsider".[


    One notable example of men wearing skirts in fiction is in early episodes of the science fiction TV program Star Trek: The NextGeneration. The uniforms worn in the first and second season included a variant consisting of a short sleeved top, with attached skirt. This variant was seen worn by both male and female crew members. The book The Art of Star Trek explained that "the skirt design for men 'skant' was a logical development, given the total equality of the sexes presumed to exist in the 24th century."[



    However, perhaps reflecting the expectations of the audience, the "skant" was dropped by the third season of the show. In some Western dance cultures, men commonly wear skirts and kilts.

    These include a broad range of professional dance productions where they may be worn to improve the artistic effect of the choreography,[ a style known as contra dance, where they are worn partly for ventilation and partly for the swirling movement, gay line dancing clubs where kilts are often worn,  and revellers in Scottish nightclubs where they are worn for ventilation and to express cultural identity.
    ↧

    Men In Skirts are Coming Back!

    February 11, 2018, 12:12 pm
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    In an era during which rules seem meant to be broken — and more and more people are calling for gender equality — it should surprise no one that the fashion world is the head cheerleader for change. Case in point: the Fall 2018 Menswear designers presenting a variety of skirts on their runways.

    A wrap skirt paired with a matching jacket showed up at the Astrid Andersen show in London, as well as a flasher-worthy trench dress at Alex Mullins, and a a flirty full skirt bounced along at Bobby Abley.
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    Clik here to view.     Are skirts the next men’s fashion trend?
    Then, Undercover presenting a plethora of pleated maxi skirts in Florence. Designer Jun Takahashi opened with five looks ranging from minimalist monochromatic to grungy, head-to-toe plaid. But the literal showstopper was the finale: a parade of topless men in white maxiskirts.
    Don’t expect many men to embrace that style — but it’s definitely a talker for our times\
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    Men in Skirts: The History....

    February 11, 2018, 11:13 am
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    Outside Western cultures, men's clothing commonly includes skirts and skirt-like garments; however, in North America and much of Europe, the wearing of a skirt is today usually seen as typical for women and girls and not men and boys, the most notable exceptions being the cassock and the kilt.
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    People have variously attempted to promote the wearing of skirts by men in Western culture and to do away with this gender distinction albeit with limited general success and considerable cultural resistance.


    Skirts have been worn since prehistoric times. They were the standard dressing for men and women in all ancient cultures in the Near East and Egypt.
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    The Kingdom of Sumer in Mesopotamia whose greatest achievement was the invention of writing recorded two categories of clothing. The ritual attire for men was a fur skirt tied to a belt called Kaunakes.
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    The term kaunakes, which originally referred to a sheep's fleece was later applied to the garment itself. The animal pelts originally used were replaced by kaunakes cloth, a textile that imitated fleecy sheep skin.[.Kaunakes cloth also served as a symbol in religious iconography, as the fleecy cloak ofSt. John theBaptist.
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    Depictions of kings and their attendants from the Old Assyrian Empire and Babylonia on monuments like the Black Obelisk of Salmanazar show men wearing fringed cloths wrapped around their sleeved tunics.
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    Ancient Egyptian garments were mainly made of white linen. The exclusive use of draped linen garments and the wearing of similar styles by men and women remained almost unaltered as the main features of Ancient Egyptian costume. From about 2.130 BC during the Old Kingdom of Egypt, men also wore wrap around skirts (kilts) known as the shendyt, They were made of a rectangular piece of cloth wrapped around the lower body and tied in front.
     By the Middle Kingdom of Egypt there was a fashion for longer kilts, almost like skirts, reaching from the waist to ankles, sometimes hanging from the armpits. During the New Kingdom of Egypt kilts with a pleated triangular section became fashionable for men.Beneath was worn a triangular loincloth, or shente, whose ends were fastened with cord ties.
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    In Ancient Greece the simple, sleeved T-shaped tunics were constructed of three seamed tubes of cloth, a style that originated in the Semitic Near East, along with the Semitic-based word khiton, also referred to as a chiton. The belted worn linen chiton was the primary garment for men and women.

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    The Romans adopted many facets of Greek culture including the same manner of dressing. The Celts and Germanic peoples wore a skirted garment which the historian Diodorus Siculus (fl. 1st century BC) called chiton. Below they wore knee-length trousers. The Anglo-Saxons, Normans, Franks and other people of Western and Northern Europe continued this fashion well into the Middle Ages, as can be seen in the Bayeux Tapestry.
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    Technological advances in weaving with foot-treadle floor looms and the use of scissors with pivoted blades and handles in the 13–15th century led to new designs. The upper part of dresses could now be tailored exactly to the body. Men′s dresses were buttoned on the front and women′s dresses got a décolletage. The lower part of men′s dresses were much shorter in length than those for women. They were wide cut and often pleated with an A-line so that horse riding became more comfortable.


     Even the armor had a short metal skirt below the breastplate. It covered the straps attaching the upper legs iron cuisse to the breastplate.
    Image may be NSFW.
    Clik here to view.

    The innovative new techniques specially improved tailoring trousers and tights which designs needed more differently cut pieces of cloth than most skirts. “Real” trousers and tights increasingly replaced the prevalent use of the hose (clothing) which like stockings covered only the legs and had to be attached with garters to underpants or a doublet. A skirt-like garment to cover the crotch and bottom was no more necessary. In an intermediate stage to openly wearing trousers the upper classes favoured voluminous pantskirts and diverted skirts like the padded hose or the latter petticoat breeches.
    Image may be NSFW.
    Clik here to view.

    Though during most of history, men and specially dominant men have been colourful in pants and skirts like Hindu maharajas decked out in silks and diamonds or the high heeled King Louis XIV of France with a diverted skirt, stockings and long wig. The French Revolution and the Industrial Revolution changed the dress code for men and women not only in France. From the early Victorian era, there was a decline in the wearing of bright colours and luxurious fabrics by men, with a definite preference for sobriety of dress.[
    Image may be NSFW.
    Clik here to view.
    This phenomenon the English psychologist John Flügel termed “The Great Masculine Renunciation”. Skirts were effeminized. “Henceforth trousers became the ultimate clothing for men to wear, while women had their essential frivolity forced on them by the dresses and skirts they were expected to wear”. By the mid-20th century, orthodox Western male dress, especially business and semi-formal dress, was dominated by sober suits, plain shirts and ties. The connotation of trousers as exclusively male has been lifted by the power of the feminist movement while the connotation of skirts as female is largely still existing leaving the Scottish kilt and the Albanian and Greek fustanella as the only traditional men′s skirts of Europe.
    Image may be NSFW.
    Clik here to view.

    In the 1960s, there was widespread reaction against the accepted North American and European conventions of male and female dress. This unisex fashion movement aimed to eliminate the sartorial differences between men and women. In practice, it usually meant that women would wear male dress, i.e., shirts and trousers. Men rarely went as far in the adoption of traditionally female dress modes. The furthest that most men went in the 1960s in this regard were velvet trousers, flowered or frilled shirts and ties, and long hair.
    Image may be NSFW.
    Clik here to view.

    In the 1970s, David Hall, a former research engineer at the Stanford Research Institute (SRI), actively promoted the use of skirts for men, appearing on both The Tonight Show Starring Johnny Carson and the Phil Donahue Show. In addition, he was featured in many articles at the time. In his essay "Skirts for Men: the advantages and disadvantages of various forms of bodily covering", he opined that men should wear skirts for both symbolic and practical reasons. Symbolically, wearing skirts would allow men to take on desirable female characteristics. In practical terms, skirts, he suggested, do not chafe around the groin, and they are more suited to warm climates.
    Image may be NSFW.
    Clik here to view.
    In 1985 the French fashion designerJean-Paul Gaultier created his first skirt for a men. Transgressing social codes Gaultier frequently introduces the skirt into his men′s wear collections as a means of injecting novelty into male attire, most famously the sarong seen on David Beckham. Other famous designers such as Vivienne Westwood, \Giorgio Armani, John Galliano, Kenzo, Rei Kawakubo and Yohji Yamamoto also created men's skirts.
    Image may be NSFW.
    Clik here to view.
    In the US Marc Jacobs became the most prominent supporter of the skirt for men. The Milan men′s fashion shows and the New York fashion shows frequently show skirts for men. Jonathan Davis, the lead singer of Korn, has been known to wear kilts at live shows and in music videos throughout his 18-year career with that band. Mick Jagger from the Rolling Stones and Anthony Kiedis from the Red Hot Chili Peppers were photographed wearing dresses by Anton Corbijn. For an FCKH8 antidicrimmination campaign Iggy Pop was seen wearing a black dress and handbag.
    Image may be NSFW.
    Clik here to view.     A derivative of a kilt, but longer and with pockets.
     Guns N' Roses' singer, Axl Rose, was known to wear men's skirts during the UseYour Illusion period. Robbie Williams and Martin Gore from Depeche Mode also performed on stage in skirts. During his Berlin time (1984–1985) Martin Gore was often seen in public wearing skirts. In an interview with the Pop Special Magazin (7/1985) he said: „Sexual barriers and gender roles are old fashioned and out. [...] I and my girlfriend often share our clothes and Make-up“. Brand Nubian Lord Jamar criticized Kanye West wearing skirts, saying that his style has no place in hip-hop.
    In 2008 in France, an association was created to help spur the revival of the skirt for men. Hot weather has also encouraged use. In June 2013, Swedish train drivers won the right to wear skirts in the summer when their cabins can reach 35 °C (95 °F), whilst in July 2013, parents supported boys wearing skirts at Gowerton Comprehensive School in Wales.
    Image may be NSFW.
    Clik here to view.

    In 2003, the Metropolitan Museum of Art displayed an exhibition, organized by Andrew Bolton and Harold Koda of the Museum's Costume Institute and sponsored by Gaultier, entitled Bravehearts: Men in Skirts. The idea of the exhibition was to explore how various groups and individuals (from hippies through pop stars to fashion designers) have promoted the idea of men wearing skirts as "the future of menswear". It displayed men's skirts on mannequins, as if in the window of a department store, in several historical and cross-cultural contexts.
    Image may be NSFW.
    Clik here to view.
     The exhibition display pointed out the lack of a "natural link" between an item of clothing and the masculinity or femininity of the wearer, mentioning the kilt as "one of the most potent, versatile, and enduring skirt forms often looked upon by fashion designers as a symbol of a natural, uninhibited, masculinity". It pointed out that fashion designers and male skirt-wearers employ the wearing of skirts for three purposes: to transgress conventional moral and social codes, to redefine the ideal of masculinity, and to inject novelty into male fashion.
    Image may be NSFW.
    Clik here to view.
    It linked the wearing of men's skirts to youth movements and countercultural movements such as punk, grunge, and glam rock and to pop-music icons such as Boy George, Miyavi and Adrian Young.  Many male musicians have worn skirts and kilts both on and off stage. The wearing of skirts by men is also found in the goth subculture.

    Image may be NSFW.
    Clik here to view.
    Elizabeth Ellsworth, a professor of media studies, eavesdropped on several visitors to the exhibition, noting that because of the exhibition's placement in a self-contained space accessed by a staircase at the far end of the museum's first floor, the visitors were primarily self-selected as those who would be intrigued enough by such an idea in the first place to actually seek it out. According to her report, the reactions were wide-ranging, from the number of women who teased their male companions about whether they would ever consider wearing skirts (to which several men responded that they would) to the man who said, "A caftan after a shower or in the gym? Can you imagine? 'Excuse me! Coming through!'".
    Image may be NSFW.
    Clik here to view.

    An adolescent girl rejected in disgust the notion that skirts were similar to the wide pants worn by hip-hop artists. Two elderly women called the idea "utterly ridiculous". One man, reading the exhibition's presentation on the subject of male skirt-wearing in cultures other than those in North America and Europe, observed, "God! Three quarters of the world's population [wear skirts]!"
    Image may be NSFW.
    Clik here to view.
    The exhibition itself attempted to provoke visitors into considering how, historically, male-dress codes have come to this point and whether in fact a trend towards the wearing of skirts by men in the future actually exists. It attempted to raise challenging questions of how a simple item of dress connotes (in Ellsworth's words) "huge ramifications in meanings, behaviours, everyday life, senses of self and others, and configurations of insider and outsider".[
    Image may be NSFW.
    Clik here to view.
    One notable example of men wearing skirts in fiction is in early episodes of the science fiction TV program Star Trek: The NextGeneration. The uniforms worn in the first and second season included a variant consisting of a short sleeved top, with attached skirt. This variant was seen worn by both male and female crew members. The book The Art of Star Trek explained that "the skirt design for men 'skant' was a logical development, given the total equality of the sexes presumed to exist in the 24th century."[
    Image may be NSFW.
    Clik here to view.

    However, perhaps reflecting the expectations of the audience, the "skant" was dropped by the third season of the show. In some Western dance cultures, men commonly wear skirts and kilts.

    These include a broad range of professional dance productions where they may be worn to improve the artistic effect of the choreography,[ a style known as contra dance, where they are worn partly for ventilation and partly for the swirling movement, gay line dancing clubs where kilts are often worn,  and revellers in Scottish nightclubs where they are worn for ventilation and to express cultural identity.
    Image may be NSFW.
    Clik here to view.         Image may be NSFW.
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    ↧

    John Bartlett: "French Foreign Legin" Menswear

    February 12, 2018, 10:18 am
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    John Bartlett's ongoing celebration of all things male took a turn for the patrician this season with a collection that was as scrupulously neat as a new uniform. He described it as a concerted effort to marry tailoring and sportswear, and most outfits had elements of restraint and release.
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    A suit in a shadow glen plaid was paired with woven-rope flip-flops, and dapper shorts with a precise little cuff were worn with a clingy cotton-knit top. In fact, the knitwear generally harked back to the overt sexiness that has always been a Bartlett signature. It clung to the models' six-packs so efficiently that front-row Phil Donahue, an old Bartlett family friend from Dayton, Ohio, days, felt pumping iron would be a prerequisite before he could even go near the clothes.
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    On the subject of harking back, Bartlett name-checked as inspirations the movie Summer of '42 and Evan Bachner's photographs of sailors at ease during World War II—more for mood than anything literal, though there was a nostalgic hint of shore leave in the smart but relaxed feel of a pea jacket paired with shorts (cuffed again) and a jacket-shirt-and-pants combo in khaki. (Bartlett also mentioned the French Foreign Legion flick Beau Travail in passing.)
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     The minimal palette—navy, gray, white, khaki—reflected the mood of restraint, until the collection climaxed with a couple of sheer shirts in deep orange and banana-yellow, reminders that boys just want to have fun.
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    Vivienne Westwood: "Rainbow Unisex" Runway show

    February 16, 2018, 4:41 pm
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    You can always count on a Vivienne Westwood show (now headlined by her partner, Andreas Kronthaler) for some wild photos.
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     This season, you would have snapped the model encased in a frame of rainbow metallic fabric; headwear made from mounds of straw and twigs; a girl wearing a jersey dress illustrated as if she were nude; earrings and necklaces boasting miniature severed fingers, hands, and penises; a male model naked except for the cape cupping his nether regions; and hyperbolically wide bustier necklines that made the models—some of them men—appear to have shrunken heads.
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    It wouldn’t hurt, however, to consider why Kronthaler created them (Europe is hurting) and what they represent (symbols of the continent on big and small scales). The woman in the rainbow frame, for instance, was a woman at a market stall; the jewelry denoted a combination of iconography from Christian churches and the pagan Greek phallus.
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    Keep going down this route and you end up further away from the actual clothes, which when removed from all the theatrical elements, boiled down to a wardrobe of eclectic daywear with Matisse-inspired cut-outs, beachy separates (a shout-out to Yasmine Eslami on the swimwear), and asymmetric dresses that possessed a certain impulsive spirit.
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    Some of the designs felt too deliberately tweaked in the company of such pared-down pieces as a sheer zip jumpsuit or lustrous green cross-body sweater. But the variety could be chalked up to a reflection of pan-European style.
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    “You need to be relevant somehow; I try to be conscious and responsible,” Kronthaler said backstage. “Clothes are a celebration of life, and that’s my responsibility.” When asked about his audacious volumes, Dame Vivienne replied, “He does develop and exaggerate things, but I think it’s the most sexy thing in I can’t remember when.” And with the first Vivienne Westwood boutique in Paris open as of this weekend, they have a new platform for both clothes and causes.
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