Why should the shirt have all the fun? This is the question the jean is asking this season. A new label on the radar is Casablanca. Designed in Paris and made in Casablanca, it’s a bright and creative contemporary brand bestowed with the rich dual heritage of Casablanca’s French-Moroccan founder, Charaf Tajer. (He was previously associated co-founder of Parisian label Pigalle and is also a collaborator of Mr Virgil Abloh).
His tongue-in-cheek and playful aesthetic, and not so silly prices, makes this a brand to have fun with. This print has something of the sunshine Hockney/Luke Edward Hall vibes about and I love it. Wear these with everything!
Not to be confused with the shoe brand, Casablanca 1942 - Read more here
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We’re definitely not going no frills for the AW20 season. Designers from Stefan Cooke to Louis Vuitton to JW Anderson showed their own take on the male waist frill, or peplum, and it looked good.
Left - Stefan Cooke AW20 at LFWM
Originating from the Greek word for tunic, Stefan Cooke's peplum looked like a pleated micro kilt, while Virgil Abloh at LV went full on evening ruffle. JW Anderson has always liked a frill and his were low on the hips, elongating the body.
So there you are, it's official, hips are to not be square and there's no such thing as a cheap frill!!!!
Below Left - Louis Vuitton AW20
Below - JW Anderson AW20
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When Virgil Abloh devoted his latest AW19 Louis Vuitton men’s collection to Michael Jackson he never could have thought that the whole thing was going to disappear so quickly. Paying homage to the ‘King of Pop’, the entire show was inspired by his Billie Jean video with its light-up paving stones and litter-strewn New York street.
Left - Those famous Jacko sequinned gloves reimagined for the, now, cancelled AW19 Louis Vuitton men's collection
The designer and brand presumed that it would be as uncontroversial as the icon from the first collection, under his creative direction, Dorothy from the Wizard of Oz: her glittery red shoes being replaced by his glittery gloves. In a collection brimming with references to Michael Jackson, it was a celebration of Jackson the stage performer and musician.
All good, until the release of the recent documentary, ‘Leaving Neverland’, which focussed on the allegations made by two men who say Jackson had abused them as children. The energy around this film reignited the controversy surrounding Jackson, reminding people of his potential darker side.
The Louis Vuitton damage limitation machine kicked in and released the following statement: The documentary ‘Leaving Neverland’ featuring two men who allege they were sexually abused as children by Michael Jackson has caused us the greatest pain. It is important to mention that we were unaware of this documentary at the time of the last LV FW19 Men’s Show. “My intention for this show was to refer to Michael Jackson as a pop culture artist. It referred only to his public life that we all know and to his legacy that has influenced a whole generation of artists and designers." said Virgil Abloh, Men’s Artistic Director.
Right - Billie Jean trash can
“I am aware that in the light of this documentary the show has caused emotional reactions. I strictly condemn any form of child abuse, violence or infringement against any human rights.” added Abloh.
The collection, due to hit stores in July, has been stripped of any of the Jackson references and the label confirms that it will not produce any of the pieces that include Michael Jackson. Fortunately for Louis Vuitton, it was easier to cancel the collection in March, before too much had been expensively manufactured, and they were left with product they couldn’t sell. To cancel it before production was the safest option in a environment where brands are frightened to upset people or be controversial.
So, where does this leave us as an industry in relation to references?
The fashion industry is a huge business with a never ending conveyor belt of ideas and products needing copious amounts of references and inspirations. One minute it’s rainbows, then unicorns, then llamas, and whatever next, and who knows where these images come from and what they mean to different people.
In an era of ‘Cultural Appropriation’ and ‘Blackface’ controversies, brands will, now, always err on the side of guilty. This is guilty until proven innocent and a way of limiting the social media outcry and killing the thing stone dead. It’s just not worth the hassle.
From Katy Perry’s shoes to Prada’s figurines to Gucci’s roll-neck, we’re now clear on what should definitely be erased from the design vocabulary. But, won’t this limit the scope of references at the disposal of brands and designers and lead to boring collections frightened to reference motifs and cultural imagery? Won’t it be a case of collections designed by lawyers to satisfy the small print and devoid of anything challenging or different? Every moodboarded person will be researched and investigated in a Stasi-like, 1984 approach into finding anything controversial in their background. You just wonder how Coco Chanel gets away with it.
Dries Van Noten, the Belgian designer, famous for this Indian embroidery and ethnic motifs, told Business of Fashion in 2017, “For me, other cultures have always been a starting point. But I never took things very literal. Quite often, we take one element that we like...and mix it to be something very personal,” he said. “It’s like layering. Indian- or African-inspired or ethnic-inspired...it has to be clothes people want to wear now. Clothes that are used to express who they are. To me, that’s the final goal.”
Left - Louis Vuitton menswear referencing The Wiz, the sequel to the Wizard of Oz, which starred Michael Jackson and followed Abloh's first collection with Dorothy was the main inspiration
“I look now more to the art world, for several reasons, I still make elements and references to ethnic things, but it has become more difficult now.” In response to Cultural Appropriation he said, “The only ethnicity I could look at is Belgian folklore.… It’s not that I exactly copy them and it's not that I want to hurt people by using certain things,” he said. “It’s the alphabet of fashion, which I use to create my own things. Sometimes, especially with menswear, you have to work with recognisable things. You have to make things that men know.”
His latest collection references the Danish designer Verner Panton, but what if Panton turns out to a few skeletons in his closet? For example, imagine you created a collection around the much loved Beatles’ song, Penny Lane. Referencing the fireman, the banker and nurse selling poppies from a tray, but then somebody points out the famous street in Liverpool is named after James Penny, an eighteenth-century slave trader. It’s knowing when the line of history needs to be drawn or how far back you investigate the reference. Rather than seeing people celebrating these things, many are seeing it as a hijacking, and limit people to only use the culture they identify with; making a very boring and restrictive design vocabulary.
The world moves forward and things change. Everything needs to be judged on an individual case-by-case basis and the decision is an informed and instinctive knowing when something isn’t right, appropriate or we’ve moved on as a society. We’re all learning this, all of the time.
Different cultures think differently about things and being frivolous or decorative about things with deeper meanings should be used with caution.
Right - Pixelated Michael Jackson on Louis Vuitton accessorises
Brands make things to sell, not to upset anybody, but won’t our oversensitivity limit the references we have at our disposal. We’re in an era of seeing the negative in everything and blowing it up on social media and it could lead to a very bland and beige period of fashion.