August’s edition of British Vogue sees editor-in-chief, Alex Shulman, commenting on modern fashion and the buzz surrounding it: ‘There is more chatter currently surrounding fashion than at almost any other stage in my memory’. She continues by highlighting key topics of conversation including the impact of the digital age, the ‘musical chairs’ of creative directors, and the structure of the fashion calendar. However, what Shulman does not mention is the ongoing war between expression and commercialism. Instagram has brought about a new age of creative direction, where designers such as Olivier Rousteing and Jeremy Scott boast their celebrity allegiance and utilise social media for the purpose of boosting sales. Fashion houses are reliant on commercialism, but when designers are producing clothes purely to sell them can it still be labelled as art? There is a difference between those who create art to please others and those who create art to please no one but themselves - one is an artist one is not.
When Vetements were invited by the Chambre Syndicale de la Haute Couture to show this season, there was speculation over whether or not Demna Gvasalia would be moulding his style to fit the polished expectations of couture. However, from the first look he sent down the catwalk it was apparent that this was not the case. Whilst I was slightly disheartened not to have been blessed with a glittering, evening-wear style Vetements, I was glad that Demna had not succumbed to designing for the pleasure of others. Through oversized suit jackets and Juicy Couture one-pieces, Gvasalia marked his territory and proved that a brand need not alter itself in order to appeal to consumers. Nothing about the collection leaned toward stereotypical haute couture, yet as with all things Vetements, I believe it will sell very quickly.
Looking at the clothes themselves, over-sized minimalism and waist-high boots seem to be what people are remembering. And for good reason, the Manolo Blahnik X Vetements boots were marched down the catwalk in colours ranging from emerald green to hot pink and were paired deliciously with ankle-length gowns that were sheer enough to reveal a charming amount of nipple. Aside from this look, few stood out as innovative since Vetements have already given us four very similar collections. Demna may have remained loyal to the brand’s image, but could it be argued that a deliberate lack of eccentricity resulted in an overall plain collection?
At the opposite end of the spectrum, Donatella Versace indulged us in extravagance. Metallic pastels meant garments glowed as they moved down the catwalk, whilst waves of texture made our senses lustful. Bar some stray strips of extra material, Donatella produced a collection I can say that I like - a rare thing since I don’t often get along with Versace’s (arguably) outdated seductiveness. Donatella herself told style.com that she had wanted to avoid being ‘super-sexy’, resulting in a modernised Versace that will be heading straight to the red carpet.
Nevertheless, this red carpet allure may be a hole in Donatella’s carefully crafted plan. An almost flawless execution, could it be that Versace has become a fashion house designing to sell? Purposefully sculpting red-carpet-ready gowns so to survive as a business rather than an art outlet?
Whilst Donatella may have won in relation to expectations of Haute Couture, it is Demna who won in not yielding to the pressure of commercialism. Haute Couture is changing, and whether Vetements be invited back or not, they have made a very valid point: art for the satisfaction of others is not art.
Versace: Haute Couture a/w 16, pictures taken from style.com.
Vetements: Haute Couture a/w 16, pictures taken from style.com.
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