THE LOSS OF VALUES IN CONTEMPORARY MEN’S FASHION

Text MARINA CARMIGNANI*

More than in other historical moments, grasping what lies behind today’s vast and varied fashion proposals seems as complex as interpreting other phenomena of our times. Obviously we start from  the idea that fashion is a manifestation which tells us something about the world in which we live  and about collective attitudes; this means going beyond categories generally used in fashion  to emphasize the constant and free search for our identity. 

Flowery patterns are proposed across the board from Gucci to Tom Ford, from McQueen to Prada for coats, jackets and suits as well as a t-shirt paired with shorts. Short bolero jackets and tight leather pants by Hedi Slimane, reminiscent of the choice of materials typically used in the  60s by rock stars, offer free combinations, both in substance and form; Lanvin’s  elegant dark jacket completely loses its historical significance put alongside short pants that expose bare legs creating a kind of  vague adolescent appearance.  An elegant and classic Balenciaga or a Neil Barrett zip jacket also appears suitable in combination with shorts. Multiple messages emerge from some of some proposals in the new fashion shows and the common denominator  seems to be this modern male figure, youthful almost to the point of childishness, nonchalant, free from references, committed to using the body as a place  for continuous creativity.

Flowermania-ProprietexclusiveFlowermania – images from men Spring-Summer 2014 collections – From top left: ANN DEEULEMEESTER, MARC JACOBS, DRIES VAN NOTEN, GUCCI, ALEXANDER MCQUEEN, PHILIP LIM, JEAN PAUL GAULTIER, PRADA, TOM FORD.

These images raise some questions.  When does the idea of fashion without rules which dominates contemporary research even today come to be?  Can we still use a tradition that began long ago as a key to  interpretation? At the beginning of the 20th century, male dress looks almost like a uniform, in shape, color and material, after a period based on the representation of  precise collective values. The basic pieces, jacket, pants and waistcoat,  established in the  18th century, had remained the same for several centuries, though they did  follow  a  path of continuous simplification. The first indications of a different way of conceiving not only clothing  but also the individual, emerge in the refined context of  the 20th century avant-guard: new themes of informality, the predominant idea of youth, a new freedom of expression in the  return to color and in the loss of structure along with  the break from bourgeois patterns take shape in a mass of ideas that influence all artistic languages. If their provocative proposals do not have an immediate effect on the fashion of those times, they do create the foundation for  future and complex shifts in mentality. Transformations will become evident in the ’60s, that decade in which, thanks to youth movements and new political and cultural phenomena, both men’s and women’s fashion turn to new sources for ideas. They look at what is happening on the street and  find  new energy and  inspiration  able to overcome rigid canons dictated by social distinctions and  roles that had always guided the construction of the male figure. This is  the beginning of that contamination of styles and  the tendency toward appropriation that permeate the fashion world  even today,  the ability to draw with ease from the recent or distant past.  The close connection between dress, social role and status is lost and this is of the most significant aspects  that the latest proposals from recent fashion shows have in common. In the eighteenth century, the variety of fabrics, colors and decorations set a standard  of unsurpassed elegance with various similarities to  women’s clothing and this  model corresponded with great precision to the  male role and life-style within the aristocratic society of the Ancient  Regìme.

Modernists-ProprietexclusiveModernists – images from men Spring-Summer 2014 collections – From top left: BALENCIAGA, COSTUME NATIONAL, LANVIN, NEIL BARRETT.

In the 19th century, the 18th century courtier is replaced first by the Napoleonic soldier model, and subsequently and  definitively by that of the bourgeoisie.  The new social order, the idea of a life based on work, responsibility and respectability, have a direct effect on men’s clothing which becomes more  serious in order to better interpret new collective values. The very few changes in the course of an entire century, affect mainly the cut and chromatic nuances within a narrow range of fabrics and small decorative details such as shirts, ties, gloves and hats.  Quality now marks economic differences in a  subtle way. The complete disconnection from social roles  that characterizes  fashion  today is linked to a loss of values that in other times were strongly reaffirmed through every artistic language.  The idea of community has been replaced by that of the individual with  the  freedom and limitations that this entails. In addition, we cannot underestimate the importance of the rapid transformations in today’s fashion and  the globalization of styles which has opened scenarios that need to be interpreted to help understand our contemporary world.

SaintLaurent-ProprietexclusiveCollection Spring-Summer 2014 SAINT LAURENT PARIS by HEDI SLIMANE.

* MARINA CARMIGNANI is an Art History Professor at the Academy of Fine Arts in Florence, where she teaches courses in the History of Art and History of Applied Arts. Her studies are dedicated to the textile sector, with a particular focus on fabrics, embroidery  and lace. Since 1980 she has organized and curated exhibitions in various Italian museums, including  Florence’s Bargello Museum, the Pitti Palace,  the Palazzo Davanzati Museum where she is still responsible for the embroidery and lace collection and the Poldi Pezzoli  Museum in Milan  and the School of Burano in Venice. She has taught at the University of Urbino and Polimoda. In 2005 her book “Fabrics, Embroidery and Lace from the Renaissance to Art Nouveau” was published by Electa.

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HEART’S NOTES

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Tom Ford, in terms of perfumes has never made a mistake. His fragrances are milestones and there were great expectations for his latest creation too. With Sahara Noir (on sale worldwide in all designer’s boutiques, Rinascente and 10 Corso Como too, in Milan), Ford confirms the evolution of the ongoing trend for mystical, exotic, luxurious, opulent fragrances, inspired by the Middle East, with this one we rediscover the routes of ancient raw materials. Sahara Noir is a oriental-boisé fragrance. All its olfactory harmony revolves around Olibanum, an aromatic resin which origin is derived from the Arabic word al-lubàn (“Milk”), a reference to the milky substance extracted from its tree. More commonly known as frankincense, an ingredient used in ancient religious ceremonies, offered as gift to the gods.

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Eau de Parfum Sahara Noir TOM FORD

In the olfactory pyramid its the second note, more commonly known as heart note, which particularly stands out. This is the one note that defines the true personality and the body of the fragrance: slow and sensuous. Here the Frankincense, unites with Laos CinnamonPapyrus Extract, Egyptian Jasmine, Rose Absolute from Morocco and Burma bees-wax, that gives to this bouquet  an animal-honey character. Sahara Noir is an alchemical formula enclosed in a bright metallic gold bottle. It digs out all magic of  ancient devotional perfumes that were lost in the mists of time, exotic fashion and smoky spiritualism of last century. Between ascetic, erratic or erotic dreams, this is a masterpiece.

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