On the Marc: Marc Jacobs’ Genius Spring/Summer 2008 Ad-Campaign

Most luxury fashion advertisements are styled to be “aspirational” appeals to our deeper emotional needs, but with Marc Jacobs quirky take on advertising, his Spring/Summer 2008 ad-campaign featuring Victoria Beckham proves that his ads carry the same mystique of Jacobs unorthodox appeal. Jurgen Teller—a highly regarded German photographer that has been featured in the likes of Vogue and W Magazine, photographed the Spring/Summer 2008 ad-campaign. Teller’s style straddles the line between art and advertising while Jacobs affinity for a certain kind of unpolished beauty blends perfectly with Teller’s overexposed photographic style. In the recent ads with Victoria Beckham, the fashion icon is rendered more like an abstraction or a living doll rather than a gorgeous celebrity. In the most disquieting image (see left), we only see Beckham’s bare, high-heeled tiny legs protrude over the side of a Marc Jacobs shopping bag that Jacobs has especially made for the shoot. As Victoria Beckham ads for Marc Jacobs continue to hit the press more criticism is not only targeted at the advertisements, but Teller, Beckham and even Jacobs himself. In an effort to learn more about the explosive attention the Beckham advertisements have attracted and share my own personal insights regarding the advertisements, I have posted my comments on other blogs, which I have copied to this post below. The first blog I found was posted on Catwalk Queen, titled "Victoria Beckham Adverts for Marc Jacobs," (see linkroll on right) where an anonymous blogger asserts that the recent Marc Jacobs ads are equally “frightening” as they are “lack luster.” The second post I found was on Marie Claire’s fashion blog, titled "Victoria Beckham in Another Marc Jacobs Ad,"which discuses the Beckham ad-campaign objectionably while asking readers if Marc Jacobs has “sold out by putting Victoria Beckham in his new advertising campaign.” To be honest, the fact that people are ranting and raving about the ads only proves that Marc is a genius. I find the Beckham advertisements clever and arresting. The ads say: “Here is this women, who is not conventionally beautiful, who is being sold and is also selling something.” Marc Jacobs is never afraid to do something unconventional, which is why his young brand has such a loyal following. Below are my rebuttals to those thrashing the Spring/Summer 2008 ad-campaign in the light that fashion is a creative industry that should have the freedom to have equally creative advertisements!

"Victoria Beckham in Another Marc Jacobs Ad"
Comment:
Thank you for your lively and poignant post regarding Marc Jacobs advertising-campaign featuring Victoria Beckham. Although you accusations were a bit gruff and were obviously made without any true knowledge of Marc Jacobs history of quirky yet charming advertisements, I am happy that you shared your thoughts. The advertisement serves as a dichotomy between glamour and freedom. This freedom is art, which in the most simplistic sense is where photographer Jurgen Teller and Marc Jacobs transformed an international celebrity into a funny, shameless, and charming character. The advertisement forces observers to ask a different question than the banality of “Is Victoria Beckham beautiful?” but instead it ignites the infamous magic Marc Jacobs has cultivated since 1997. Furthermore, I must argue that in a creative industry like fashion, designers must be able to take chances and be just as creative as they are in their craft with their advertising. By employing Beckham in his Spring/Summer ad-campaign Jacobs has brought a plethora of attention to his newest collection simply by preying upon Beckham’s recent overexposure in the media. Nevertheless, people are always going to talk about what Marc does.

"Victoria Beckham Adverts for Marc Jacobs"
Comment:
I really enjoyed reading your informative post about the Marc Jacobs’ advertisements featuring none other than fashion icon, Victoria Beckham. However, I was slightly disappointed to read the final point you made: “Did Marc Jacobs sell-out by putting Victoria Beckham in his new advertising campaign?” As a longtime lover of Jacobs and his quirky advertisements I cannot help but ask why you chose to purpose this question when Jacobs has featured dozens of other celebrities ranging from Dakota Fanning, MIA, and even Wynona Ryder (who actually pitched herself shortly after her shoplifting trail). Furthermore, the strange and awkward photographs of Ms. Beckham are only an extension of Marc Jacobs and Jurgen Teller’s former advertisements where most subjects are generally doing nothing in the “Seinfeldian sense.” His ads have always been characterized as irreverent and fun, which is exactly what the Victoria Beckham ads convey. Jacobs brings humor and light-heartedness to his advertisements and this is what seems to be misunderstood by many. In a way, his advertisements are genius in that you cant help but stop and examine what the ad is trying to tell you (which is usually nothing). Personally, as a true Marc Jacobs devotee I believe the ads are really for people who get it, and I think Marc and Jurgen happily dispense with those who do not. To that extent, the Beckham advertisements are a tongue and cheek portrayal of a beautiful celebrity in an unlikely yet charming portrayal that is full of candor and vivacity.

Hypersensitivity to High Fashion: The Controversy Over Vogue’s April 2008 Cover

As an intern at West Coast Vogue with a boyfriend who idolizes NBA star LeBron James, I anticipated the April 2008 issue featuring supermodel Gisele Bundchen and LeBron James with much excitement. As a magazine insider, I knew the cover subjects before the magazine was put to print. Like a good intern should, I kept my mouth shut. But when the boxes of the corner cut April issues arrived all I can remember were the goosebumps that enveloped my body—the cover photo was magnificent. Full of vivacity, emotion, movement and drama I was sure the April issue would elicit a profitable turnover at newsstands. Genius. The cover was shot by the infamously provocative photographer Annie Lebovitz who caught the 6-foot-9 NBA star and the 5-foot-11 Brazilian model for the cover and inside spread. What made the April issue even more exciting was that King James would be the first black man to grace the cover of Vogue. In that moment I was proud to work for such an illustrious magazine that promoted social progression and authority yet I did not foresee the controversy that would develop in the next few days surrounding the James-Bundchen cover. I should have known when my boyfriend saw the cover and said sullenly, “I know LeBron is wearing his own line, LB3, but should he be wearing a suit of something… It’s Vogue. And why is he roaring?”

After hitting the newsstands, the cover image (see right) began to stir up concerns that it perpetuated racial stereotypes. The image captures James who strikes what some see as a “gorilla-like pose,” barring his teeth, with one massive hand dribbling a ball and the other lightly wrapped around Bundchen’s tiny waist. LeBron is dressed in his basketball gear, with his muscles flexing and tattoos showing. Gisele, on the other hand, is wearing a gorgeous slim-fitting silk green dress, and smiling. She looks like she is on her way to a fashionable event while James seems to be en route to a “pickup game for serial killers.” It is an image some have likened to “King King and Fay Wray.” One Philadelphia news analyst, Tamara Walker, says the photograph “conjures up this idea of a dangerous black man.” Another magazine analyst, Samir Husni also believes the photo was deliberately racist stating that it “screams King Kong” (see below left).

Yet, the point of the cover shot was to show the contrast between brawn and beauty, masculinity and femininity, strength and grace. These themes paralleled the overarching motifs that the April 2008 issue aimed to embody—aligning supermodels of super beauty with extraordinary athletes. But some speculate that Vogue’s quest to highlight these differences between superstar athletes and superstar models only successfully reinforced the animalistic stereotypes frequently associated with black athletes.

In a column at ESPN.com, Jemele Hill called the cover “memorable for all the wrong reasons.” Ultimately, Hill questioned LeBron’s responsibility to his image, which she emphasizes that it "clearly means a lot to him.” Hill also claimed that white athletes are generally portrayed smiling or laughing while black sports figures are given a “beastly sort of vibe.” However, had a white sportsman been in LeBron’s place would there have been a difference in the treatment of the photograph? Unfortunately, this we will never know. But it is important to weigh the possibility of a contrast situation. Nevertheless, Hill argues that the aggressive and threatening image of LeBron on the cover of Vogue only “reinforce[s] the criminalization of black men.” Having studied images of black athletes for years, Dr. John Hoberman, a University of Texas professor and author of the controversial book Darwin’s Athletes: How Sports Has Damaged Black America and Preserved the Myth of Race, contends the images of black athletes are no better than the ones offered centuries ago. Hoberman maintains that this idea of criminalized black men ties back to the “19th-century theme [of] the savage versus the civilized.” He extends his argument by connecting the themes portrayed in slave trade illustrations with the ubiquitous images of “shirtless black male athletes, which reinforce the idea that black athletes were blessed with physical characteristics, not mental ones.” Hoberman added, “The practice of stripping black males above the waist and displaying him is as American as apple pie.” But was Vogue really trying to portray James as some kind of “beastly” aggressor rather as a sportsman in his element?

In reaction to the reports accusing Vogue of racial insensitivity, Vogue spokesman Patrick O’Connell said the magazine “sought to celebrate two superstars at the top of their game” for the magazine’s annual issue devoted to size and shape. “We think LeBron James and Gisele Bundchen look beautiful together and we are honored to have them on the cover.” When LeBron was asked about the controversial photograph, he told a Cleveland newspaper that he was pleased with the cover and even said he was “just showing some emotion.” LeBron added, “Everything my name is on is going to be criticized in a good way or in a bad way,” James told the paper. “Who cares what anyone says?”

Many say the image shows James’ “game face”—nothing more. They also note that Bundchen hardly looks frightened—which would negate any claims that James looks barbaric or predatory over the dainty model. “James is a huge, black beautiful masculine statue and Gisele is a feminine, sexy gorgeous doll,” said Christa Thomas, a black account manager in Los Angeles. “I didn’t see any kind of racist undertone to it,” she said, “I still don’t. I think there is such a hypersensitivity to race still in this country.”

The photograph is truly a work of art and the criticism surrounding it is in fact a perfect example of America’s aversion toward anything that might have a racist undertone in the media. Had a white man, say NFL player Tom Brady, been in LeBron’s place I think the image would have received little if any attention in the media. Furthermore, like the rest of the Olympic athletes featured in the issue, LeBron is dressed in his sportswear. When it comes down to it, the photo shows both LeBron and Gisele acting as if they are in their natural work environments—where LeBron poses with his “game face” and Gisele smiles wildly with her stunningly picturesque poise. Ultimately, I feel the cover is a beautiful photograph that captures the juxtaposition of beauty and strength in James and Bundchen’s celestial bodies.

Link Roll Additions: The Haute Step Adds New Links to the Closet

A few weeks ago I surfed the Internet for interesting and relevant websites that I could add to my linkroll (right). After excavating the web for the finest fashion sites and blogs I decided that there were just too many to add at one time! This week I have added another ten links. The first is Catwalk Queen, a blog dedicated to fashion. Catwalk Queen provides up to date news and coverage on everything fashion. The site offers interesting reading material, although it is somewhat difficult to navigate. Next, I added Go Fug Yourself, which takes a tongue and cheek look at celebrity fashion and analyzes what ensembles were“fugly” and why. Overall, it’s a fun site for caddy fashionistas. Then, I added a blog titled I AM Fashion, which is written by a young American woman living in Paris. I AM Fashion is a blog devoted to translating trends and runway fashions into down to earth, youthful street fashion. This is a wonderful site as it channels high fashion while bringing it to a more reasonable level for the average reader. I AM Fashion welcomes commentary and utilize readers’ comments as a compass for what will be covered in the next blog. I also added the link to New York Fashion, a site that is devoted to publishing scholarly articles that cover the current musings of the fashion industry. Similar to New York Fashion, I put the link to The New York Times: Fashion & Style site into the linkroll, which also posts intellectual pieces that delve into the world of fashion. However, it must be noted that The New York Times: Fashion & Style site is a bit difficult to navigate and although the overall content is exquisite, the site has a low level of interactivity. Next is Style Bites, a blog written by an anonymous fashion industry insider who explores the world of modeling by posting her interviews and also her secrets to styling. Like Style Bites, I found a site called Style File. Style File shares a similar interface with Style Bites but instead Style File focuses on high fashion, high society, and culture. Style File is written by contributing editors at Vogue and gives readers a sophisticated look into all that is "in vogue." I also added The Runway Scoop, a blog that posts interesting pieces on the international fashion industry. The blog encourages readers to spark discussion on issues, which are later discussed in posts. True to its name, The Runway Scoop offers up to the minute analysis and information on the hottest runway shows all over the world. I then put the link to W Magazine: Fashion on the linkroll. This site is devoted to fashion news as well as art. W Magazine: Fashion also provides a hub for discussion boards and the ubiquitous celebrity style file. Lastly, I added the diamond in the ruff—Fashionologie, which has recently become a member of the elite top bookmarks on my computer. First of all, Fashionologie (see left) has a beautifully simple yet sophisticated visual interface. The site employs a great balance of color with simple black lines that makes for a chic looking site. Aside from visuals, Fashionologie is a blog that covers fashion musings that are of high interest to my age and myself. The blog is very relatable yet very fashion forward. Fashionologie discuses popular magazine spreads, covers, and promotes discussion about the issues that such material evokes in the fashion industry. I really enjoyed reading all of the posts on Fashionologie and highly recommend that you take a look at the site as well as the other links that I have added and discussed in this post! Enjoy!

Project Runway: Did the Best Designer Win?

For a designer, there is nothing that can rival presenting your collection at the centerpiece of New York Fashion Week—Bryant Park—and in the largest venue no less. For the three final contestants on Bravo’s hit show, Project Runway, Jillian, Rami, and Christian, an experience that once seemed like an unattainable dream was quickly altered into reality with their continued success on the show. And so, their day finally arrived with the season finale of Project Runway where Jillian, Rami, and Christian showed their collections to the world. After showing each of their lines at New York Fashion Week the judges would decide which one of the three finalists would be named the winner of Project Runway. I must assert that Project Runway has never had the incredible level of talent and caliber that this season’s final three possessed. Christian, Rami, and Jillian all had palpable points of view and the execution of each item in their collections was impeccable. All three had superbly professional styling from hair and make-up right down to the accessories. At any rate, in this blog I will examine each of the finalist’s collections and explain why Christian won Project Runway.

Jillian presented a gorgeous and innovative collection, which was an extension of the Metropolitan Museum challenge crediting the Italian 15th century painting “Master of the Argonauts” as her muse. Surprisingly, Jillian opened her show with a variety of marvelous knits. The knitwear was ingenious and certainly channeled Sonia Rykiel while possibly rivaling the infamous Adrienne Vittadini. As the various knits that stormed the runway early in Jillian’s show faded to gold lame and chiffon pieces it was evident that Jillian’s collection steadily lost its cohesion. Just as one began to see the serious sophistication in Jillian’s work the idea was thwarted by pieces such as the black and white knit top with undulating cap sleeves that seemed Seuss-like in demeanor (see right). It felt like Jillian made a lot of similar mistakes that ultimately translated as awkward placements within her show. Overall it seemed that Jillian failed to formulate a distinctive point of view. The absence of accord within her collection might be accredited to the fact that she has always worked under someone else’s vision during her lengthy tenure at Ralph Lauren and so she has never been able to cultivate her own style. Thus, Jillian’s overall final collection was pulled in too many directions making it disjointed. As Nina Garcia, a judge for Project Runway and fashion editor for Elle magazine said, “I just see too many ideas.” This is not to say Jillian lacks talent. Her extraordinary attention detail was executed with surgical precision. Each look was immaculate unto itself in terms of thought and detail. For example, the final look cleverly shifted away from a traditional full skirt and instead used a wide leg pant. While the essence of Jillian’s show was deficient in both theatrical and cohesive elements, her collection was indeed fun, accessible, and inherently feminine. Nevertheless, Jillian’s deep-seated femininity was rivaled by Rami’s “ode to women.”

Rami, the "King of Drapery," set out to prove to the judges that he could produce more than 12 variations of the same goddess dress, which was done with precise execution. His collection was cohesive and showcased the idea that every category of dressing may be comprised of separates. While the construction and technicality of Rami’s line conveyed his impeccable workmanship there was a serious problem with color. The color story was dour and was definitely a little lackluster. Designer and judge, Michael Kors, said it looked like Rami used “Brady Bunch colors”—a definite no-no high fashion. The colors were certainly off; the tacky fuchsia, dirty yellow, and leafy greens did not compliment the black lame or tan jersey Rami utilized as the base for his collection. Aside from the peculiar color choices, Rami displayed his master craftsmanship in an antique lace gown and the many woven bodices. However, as much as I liked the vintage 1930’s lace gown, I felt that it was rather old and stale on the runway. Another disappointment was a gold lame number that had a strange bulge on the thigh. This was surprising in that Rami is known for his keen understanding of the female body and yet the strange accentuation at the thigh would be displeasing to a womanly figure. Aside from this dress, I though Rami produced an array of amazing evening dresses that gave homage to his innovative construction techniques—although some of his textile choices eluded me, as they were both visually and literally heavy. To end on a good note, Rami’s final look was the crème de la crème of his entire collection: a black gown with innumerable glittering accordion-pleated layers—it was simply staggering. Ultimately, Rami’s final collection was cohesive and his gowns were exquisite but overall the line lacked the edge and finesse it needed to truly stand on its own.

Finally there was Christian—the well-deserved winner of Project Runway. Christian’s designs had an alluring power or should I say “fierceness” to them. His collection was full of drama and the theatricality was at full volume. Christian’s collection was all about counterpoint between exuberant volume and minimalist restraint. For example, there were blouson tops paired with cigarette pants or oversized brimmed hats styled with obtuse collars and lean pants. This juxtaposition of shapes is nostalgic of early Alexander McQueen and Vivienne Westwood, which happen to be the designers Christian worked under during his time in London. The palate was mostly black with merlot accents while ivories and browns dominated the eveningwear. His overall aesthetic was consistent and I think his youth and inexperience catered to his avant-garde fixation. While Christian’s collection may have pushed the envelope with drama he managed to be conscious of the wearability of his pieces. The showstoppers were definitely Christian’s final two looks. His second to last look (see left) was a belted cocktail dress with hundreds of vertical layers of chiffon that faded from light to dark creating an uber sophisticated ombre look which danced down the runway beautifully. But it was his finale that was the jaw-dropper: a full-length gown crafted entirely of feathers that screamed haute couture! By the time Christian’s final look made it down the catwalk, celebrity guest judge Victoria Beckham was in tears, Nina Garcia was clapping ecstatically, and Kors was simply "beside himself." Honestly, after seeing Christian’s collection I, too, was left with goose bumps. At the unripe age of 21, Christian’s collection was astonishing, cohesive, fierce, and truly innovative.

Considering the contempo of Christian's designs along with its wearability, Christian definitely deserved to win Project Runway. I hope to see Christian’s youthful influence spark a “fierce” fire within the fashion industry and lead him to great success. Although the Jillian and Rami produced beautiful collections, Christian's line had a stronger story to tell. His show amped up the volume and set a new standard for Project Runway contestants to come. So to answer my question--yes, the best designer did win.

Linkroll Additions: The Haute Step Surfs the Internet... In Stilettos Of Course

This week I decided to explore the Web for some credible and well-established resources to add to my linkroll (see right) that emphasize the same points of interest my blog focuses on. First I found an esteemed British blog titled Coquette, which takes an avant-garde look at current fashion and trends. Although the entries are brief, the blog is informative and easy to navigate. Next, I added Elle: Fashion to my linkroll. Aside from Vogue, Elle has an enormous following within the fashion community—many rely on this site for suggestions about how to wear current trends off the runway as well as obtain fashion updates from Paris to Los Angeles. I also added Fashion Net. Fashion Net was one of the most interesting sites I came across as it connects visitors with not only with the fashion community but also with art. As many industry insiders see fashion as a sect of art, it was really great to find a site that gave homage to fashion's deep roots. Fashion Net's overall visual design is very pleasing and the structure of the site is easy to navigate. Furthermore, Fashion Net provides various links to designers, labels, artists, magazines, mailers, blogs, and even books! Following Fashion Net, I found a great blog called Fashion Tribes. Fashion Tribes is an internationally well-known blog that provides fashion forecasts, fashion week reviews, and also takes a look at current ad campaigns for major design houses and labels. It was very exciting to find a blog that made note of fashion advertising as I am a firm believer that fashion ads always share a similar characteristic across the board, which ultimately suggest what is going to be the next big thing in fashion. Overall, Fashion Tribes is a simplistic blog in terms of content and structure yet it manages to cover important issues that are current and applicable to those interested in fashion. I also added Glamour: Fashion Blog to the linkroll because Glamour not only illuminates high fashion trends but also mixes upscale designers with more affordable labels. After all, Glamous Magazine is the top-selling publication at Conde Nast. Glamour: Fashion Blog is rich in content with a profound point of view and definite sense of knowledge about the industry. The blog is visually appealing and is definitely a trustful blog for fashionistas. Next, I added Los Angeles Times: IMAGE. The site is easy to navigate, functional, and is written by insightful industry insiders providing weekly reports, trends, shopping, and what is currently “All The Rage.” Although I was a bit tentative about the Los Angeles Times: IMAGE section I have become quite fond of it due to its local shopping finds and interesting perspectives on current fashion phenomena. Style Bakery was also added to the linkroll as it is an easy, fun, “sweet,” and charming website for those wanting to know up to the minute style suggestions and tips for dressing. The site is one of the most interactive (along with Who What Wear Daily) in light of its “Ask Questions” tab. The site also has its signature “Daily Scoop” that posts photographs of celebrities, stylists, and designers spotlighting current fads right off the street. Like Style Bakery, Who What Wear Daily also posts bundles of images cropped together of celebrities, socialites, or other popular fashionistas and then tags every piece of clothing that these icons are wearing so that readers know what and where to buy the pieces they have seen. It really is one of my favorite sites because the discussions and commentary on each blog post are always fun to read and interesting. I also added the highly esteemed Style.com to my linkroll. Style.com is definitely the best site for everything fashion. The information is accurate and the articles, blogs, and other postings are written by guest editors, Vogue writers, models, and other important figures involved in fashion. Style.com also archives all of the top fashion shows with photographs of each piece that has ever come down the runway since the site was launched in 2000! Finally, one of my personal favorite fashion blogs is The Sartorialist. The Sartorialist was voted one of TIME Magazines top 100 design influences! This blog is written by an engaging and incredibly knowledgeable man who has been in the industry over 15 years. The Sartorilaist includes guest blogs from the infamous Georgio Armani himself to other style icons such as Dita Von Teese. I think it is fabulous how The Sartorialist not only provides an immaculately cultivated outlook on fashion but the blog also involves other prominent figures in the fashion community. Ultimately, these are some of the best fashion blogs and Web-sites that are on the internet, which hone in on the ever passing trends and news that fashion brings day in and day out.

Whitewash: Fashion Week Runways Lack Minorities

After further review of the recent news from Fashion Weeks spanning from New York to London I have come across numerous blog posts highlighting the absence of colored models—specifically black models—on the runways. Model Tyson Beckfod, who attended several shows during New York Fashion Week, asked “What happened to all the black people on the runway?” He added, “There are no blacks on the cats.”
Beckford had a point. While the president of the Council of Fashion Designers of America, Diane von Furstenberg, sent out a memo to its members encouraging them to create fashion shows “that are truly multicultural” many fashion houses obviously failed to take her suggestion into account even though fashion houses thrive in a market industry driven by globalization and trends. Instead, there were drops of color here and there, with the exception a few shows, the runways were littered with pallid, bony, white androids. According to Women’s Wear Daily, 31 of the 101 Fashion Week shows posted on Style.com had no black models at all while the vast majority of remaining fashion houses that did use black models in their shows only had just one or two, namely Chanel Iman (see left) and Jourdan Dunn. But, if there ever should have been a time to use more people of color on the runway, the time is now.
With popular cultural landscapes well populated with colored actors, musicians, moguls, and even candidates for the American presidency it was surprising to audiences that fashion seemed to be completely whitewashed on this seasons runways. One industry insider argues that the “in look” right now is white: skinny white European girls. But frankly, the idea of associating race with a trend is completely outrageous! Racializing a trend would thwart the beauty and values surrounding such an incredible industry that has built its tenor upon the ideals of diversity, color, and tolerance.
So who should be responsible for taking action? Who is to blame for this sudden runway whiteout? As of now, many are pointing fingers. Some blame modeling agencies for not sending out enough ethnic models to casting calls. Others blame the designer’s casting directors for not hiring models of color. Then there are those who believe the designers are to blame because after all—every detail of a show, down to the race of each model, is meant to embody the designer’s vision of a woman and by default his consumer as well. Some even believe that there is really one person turning the knobs behind this entire scandal: editor in chief of American Vogue, Anna Wintour. Nevertheless, as I mentioned before, in my exploration of the issue within the blogospehere I have come across many differing perspectives in regards to who or what is to blame for the sudden lack of ethnicities, particularly blacks, on the runways during this years Fashion Weeks. The first post, found on Condé Nast’s Portfolio.com, discusses and analyzes why this dramatic change of tide swept the runways this season. Author, Lauren G. Crowe, explores the many possibilities that might have brought about this lack of color by connecting it to the global issues surrounding modern international racism as well as the idea of fashion houses steering away from being deemed an “ethnic label.” The second post I found, titled “Fashion Weeks Runways Were Almost a Total Whitewash,” is published by Jezebel.com. The entry explores the recent phenomena surrounding the lack of ethnicities present on the runways during New York Fashion Week and argues that designers might be at fault for the sudden dearth of ethnic models. Below are the comments I made on their blog entries.

“No Black Models: Who is to Blame?”
Comment:
I really enjoyed reading this post as you have shifted the debate about “who is to blame” beyond the designers, modeling agencies, and casting directors. You begin to associate this runway whiteout with other possibilities like the rise of the “walking ghost” model and even the issues surrounding racism in developing countries where design houses hope to expand. Although there were a handful of colored models that ubiquitously appeared on a variety of runways, for example Chanel Iman, while others graced only a few, such as Jourdan Dunn, it was clear that this years runways zeroed in on the “hot list” of ethnic models. I also thought you made an incredibly interesting point when you illuminated the fear that if designers do in fact employ a larger ratio of ethnic models then they will be considered an “ethnic” designer. I couldn’t agree more that in this day and age, designers want to be accepted by particular demographics of consumers and steer away from others, however, I feel that there must be some way designers can incorporate a wider variety of ethnicities in their models to reflect the reality of the global fashion market.
Nevertheless, I also believe that the entire fashion industry is to blame for both perpetuating and maintaining such a racialized trend for models on the runway. Understandably, designers want to emphasize their garments rather than the model—possibly why the black skinned models might be shunned for their distinct deterrence of attention. Yet, this is not a sufficient argument for designers and the like to make. Ultimately, design, art, and fashion are based in the foundation of diversity and after this years monochromatic runways, I think all those involved in upholding this android model trend will see that they have undermined the goals of their own intention for the creative process and industry as a whole.

“Fashion Week Runways Were Almost A Total Whitewash”
Comment:
Firstly, I would like to thank you for your close attention to this years Fashion Week and the obvious absence of ethic models on the runways. The castings examples were a brilliant idea as they critically highlight the numerical abundance of Caucasian and European models in comparison to other ethnicities. Additionally, I thought the pie charts were also a stark visual example in proving your point. While it is clear that the runways have been clearly “whitewashed” this season, I cannot help but ask, why? In your post you present only two possibilities that might have been responsible for the homogenous runway castings: designers themselves and modeling agencies. I agree that a level of liability must be placed somewhere and that racializing a trend is completely irresponsible of the fashion industry, but I do not think that we can point fingers at fashion designers or modeling agencies alone.
I believe that this whiteout has been an impending, and unfortunate trend. Over the past few years the fashion industry has taken a depressive turn away from health and sexiness toward a kind of heroine chic. This new trend seems to decree an “avant garde” vibe by psychologically distancing audiences from coveted fashions with elements of lifeless, almost robotic, bodies encapsulated in mysteriously beautiful garments. Furthermore, Fashion Weeks shows have also hinted toward the idea of diversity being passé—clearly an artifact of 1970s runways. Surely, one would assume that when CFDA president, Diane Von Furstenberg, encouraged designers to create shows “that are truly multicultural,” designers ought to have considered her proposition as a vital “take notice” that fashion is a billion dollar industry catering to a new multicultural global market.
Ultimately, it seems that although black people have progressed tremendously in the social world, it seems that we still have yet to come so far in our mainstream perceptions and imaginations. I truly enjoyed reading your piece exploring the statistics you provided surrounding this issue and hope to read more of your entries in the future. Finally, let’s hope this pale, bony, emaciated white model trend passes with Milan’s Fashion Week and plaid gowns!

New York Fashion Week: Simple, Safe, and Comforting?

Eight days.
Eighty designers.
Sixty-five-thousand square-foot tents.
Two hundred and thirty five million dollars in expected revenue for NYC.
It is New York Fashion Week 2008.

This past week the world's greatest fashion designers convened under the gauzy white tents at Bryant Park in New York City to share their ready-to-wear collections for fall 2008. As the country's most prominent celebrities, A-list fashionistas, and renowned editors dressed in their best attire they made their way into the enormous diaphanous tents and secret show locations where the next season of fashion would be unveiled. Although expectations were soaring as attendees took to their seats there was a sudden shock of reality as fashions sauntered down the runways. The entire story of New York fashion week seemed to read: "play it safe." While this tone of security might sound odd for an industry that relies entirely on transformation and new whims--the idea of familiarity was, in fact, appropriate. Considering the struggling economic backdrop New York provided for the collections, designer’s work seemed muted, conservative, and tightly stitched. “With some European fashion houses reporting a 22% increase in prices” paired with the sharp decline in consumer confidence and spending, this is surely not the time for designers or retailers to take fashion risks. So when the first outfit (see right) at Ralph Lauren’s fall 2008 show appeared on the runway—a plain, grays cashmere tank dress—the ensemble said it all. Nevertheless, fashion always manages to stitch in a few alterations.

With the juxtaposition of a wearisome economy and the blossoming of a new year, designers took to paring unlikely pieces and fabrics for their falls lines. Many can agree that most designers were aware of the dubious American market. Take for instance Alexander Wang’s “pretty-tough” girls in their ripped tights (see left) , lean chiffon blouses, and masculine oversize blazers—suggesting a robust yet abating confidence in familiar cuts and comfortable materials. Also, recent CDFA winner Derek Lam conveyed this same sense of concordance with controlled rigorous tailoring layered upon ivory floral sack dresses and black tulle sequined and feathered frocks. Lam describes this unfamiliar mixture as “controlled exuberance.”

Another common trend seen on the runways way the redefinition of classic pieces. When it comes to finding inspiration designers are usually all over the map. But at New York Fashion Week, our nation’s finest kept things pretty close to home. It seems that in a time of economic peril people everywhere are drawn to classic Americana styles because they project a carefree confidence. And so, designers like Michael Kors reached back to the ultra-conservative 1950s and 1960s by pillaging what looked like Jackie Kennedy’s wardrobe for sable coats over cashmere sweaters, delicate sheaths in lilac and olive floral, balmacaans, and camel suits with narrow skirts. Although the collection read a bit, dare I say—“retro,” overall Kors made his fall line seem approachable and not costumey. Donna Karen also adorned the runway with models draped in more conservatively classic pieces inspired by her famous “Seven Easy Pieces” collection that was meant to help women into the boardroom. Karen also focused on structured tailoring, which was represented by suits that paid close attention to the gentle female form. Case in point: a rose cashmere tweed cardigan jacket and a wrap skirt with forgiving curves (see right). Finally, perhaps the biggest risk of the season came from Marc Jacobs himself. The designer, known for his sexually infused collections, surprised his audience by showing a strangely conservative collection of “long, cocoon-shaped pastel coats,” full pants and draped velvet evening gowns—all unlikely choices for Jacobs. It seemed that the entire line maintained a traditionally classic American style concept while infusing a willfully sedate quality. Jacobs deemed his story for fall as “Calm. Glamour. Casual. Beautiful women.” Although this may sound vague, it certainly encapsulated his fall show as well as the indefinite tone his designs seemed to scream as they strolled quietly down the runway. Yet, beyond the archetypal feel to Jacobs’ fall collection and the unexpected soft pastel pallet, it was also clear that Jacobs employed very masculine cuts of the classic clothes. Nevertheless, the Jacobs’ mystique was evidently contagious, as this masculine trend seemed to touch upon the hottest collections at New York Fashion Week.

Finally, one of the most striking trends seen on the runway was the idea of "boy meets girl," where typically feminine cuts take on more masculine shapes and silhouettes. While most argue that Phillip Lim’s collection spoke to his growth and maturity as a designer it was also clear that Lim was presenting a matured femininity by accentuating typical cuts with more masculine touches. Amid Lim’s staple pieces such as mid-calf skirts and silk blouses with suede dusters, Lim proudly uncovered what he calls “the new power suit,” which is a black denim boyfriend blazer over fantastic matching wide leg pants. Presumably channeling his inner Donna Karen, Phillip Lim brought boyfriend to an entirely new level of chic. Like Lim, Calvin Klein’s Francisco Costa has also proven the beauty in masculine tailoring. True to his minimalist style, Costa set an austere mood from which the designer hardly deviated by sending models down the runway in boxy men’s jackets, asymmetrical pieces, and an excess of masculine coats and jackets. Beyond Jacobs’ and Lim’s masculine touches other traces of menswear were spotted all over the runways from socks and heels to mini-boy ties—it seems that menswear for women in back in a very serious way.

Overall, designers seemed to speak to the safety and assurance that fashion can offer with familiar styles, conservative shapes, and less than daunting materials for the fall season. And so, amidst the stark economic backdrop it seemed that designers accepted and appreciated what history offered by telling the story for fall’s fashions in a deceptively simple and simply beautiful way.