fashion 80an

Televising the shows has also transformed fashion, a oncehallowed institution, into a veritable circus at times. It’s one thing to add a little entertainment value to a show. Who can blame designers for wanting to keep audiences amused? “Given that fashion shows are really for the benefit of the press, and ultimately the reader, it’s totally counterproductive to bore an audience to death by showing them every variation you ever came out with on a jacket,” says Armstrong. But there’s a fine line between injecting a bit of entertainment value into a show and turning it into a gross display that has very little to do with fashion anymore. The personalities, the scene, and the after-parties can easily become the focal point for invitees. And the shows themselves are sometimes such a spectacle that it’s possible to forget that the clothes are the main event. John Galliano’s Paris spring/summer haute couture collection in January 2002 was the self-proclaimed Greatest Show on Earth, with harlequins, ribbon-twirling gymnasts, taiko drummers in loincloths, clowns, and a contortionist. In November 1998, Paris-based designer Alphadi staged a $2.5 million show in Niger, a Saharan country where the average person lives on less than fifty cents a day. Models sashayed outdoors against a backdrop of cliffs and sand dunes, as well as turban-clad soldiers and local beggars (it could only have been a more grotesque display had the finale included buckets of money being tossed into a shredder for use as confetti). Oh, and there were clothes, too. The need for publicity is so strong that sometimes a designer will show a collection on the runway that’s completely different from the clothes that will actually be available for sale. “It confuses the public, and it proves that all the designer wants is a cheap photo opportunity,” says Armstrong. She cites as an example Stella McCartney’s debut collection in 2001 for her eponymous line. When much of the press panned it, the reaction of the fashion house was to try to get journalists in to see what was on the racks because it was completely different. “You can’t have it both ways you can’t use sensationalist tactics to get your clothes in the newspapers and then complain that the reporting is unrepresentative of the true nature of your work,” says Armstrong. “It’s hard enough trying to see eighty shows in one week, let alone going along to all the showrooms afterwards. Designers have to decide where their priorities lie seeking notoriety or building a serious fashion label.”Fashion 80an – ImgMob Bestcelebritystyle

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