{"id":241860,"date":"2023-11-25T06:35:55","date_gmt":"2023-11-25T06:35:55","guid":{"rendered":"https:\/\/lovemainstream.com\/?p=241860"},"modified":"2023-11-25T06:35:55","modified_gmt":"2023-11-25T06:35:55","slug":"what-on-earth-is-she-wearing-how-weird-fashion-lands-in-your-wardrobe","status":"publish","type":"post","link":"https:\/\/lovemainstream.com\/lifestyle\/what-on-earth-is-she-wearing-how-weird-fashion-lands-in-your-wardrobe\/","title":{"rendered":"What on earth is she wearing? How weird fashion lands in your wardrobe"},"content":{"rendered":"

By <\/span>Janice Breen Burns<\/span><\/span><\/span><\/p>\n

<\/p>\n

Save articles for later<\/h3>\n

Add articles to your saved list and come back to them any time.<\/p>\n

Weird fashions get such a hammering, particularly on social media. \u201cPointless\u201d, \u201cNope\u201d and \u201cWhere would you wear it?\u201d are pretty typical among comments on any post with, say, an oddball Iris van Herpen, a strange Schiaparelli or anything, really, on a Rick Owens runway.<\/p>\n

There\u2019s also a doctorate\u2019s worth of theories about why so many scoffers and trolls are genuinely angered by offbeat and \u201cconceptual\u201d clothes: \u201cBahaha!! F*&#@ing Stupid!!\u201d, for example. There are measurable levels of loathing for fashion in those !!!s.<\/p>\n

Vogue<\/em> legend Anna Wintour once observed that some of us feel threatened by fashion. We feel self-conscious and judged and, in our deepest doubting selves, fear getting our fashion choices wrong which \u2013 stringing that theory to its rim \u2013 could mean a \u201cnope\u201d to being liked or, god forbid, even loved.<\/p>\n

It\u2019s all horribly complicated but it\u2019s also this madly human tangle of psycho-social baggage that we bring, not only to our own wardrobes but \u2013 crank that up and add steroids \u2013 to the weird stuff academics and fashionistocrats charitably call \u201cideas-driven\u201d fashion.<\/p>\n

\u201cIf you\u2019re walking into an exhibition, or you\u2019re seeing some outlandish, extremely artistic thing being worn at an awards ceremony by a celebrity you like,\u201d explains associate professor Lauren Rosewarne of the University of Melbourne, \u201cremember you\u2019re going to bring a different set of judgments to that than something you might see in Kmart.\u201d<\/p>\n

<\/p>\n

Iris van Herpen\u2019s\u00a0Ananda-Maya gown, 2022, left, and Schiaparelli\u2019s Look 6 from the Matador Couture collection 2021-22 can be seen at this year\u2019s Triennial.<\/span><\/p>\n

Which brings us neatly back to Schiaparelli and Iris van Herpen and their spots in the National Gallery of Victoria\u2019s sprawling multi-floor Triennial exhibition, opening next week. The Schiaparelli group of 20-odd surrealist-inspired accessories and gowns is by American designer Daniel Roseberry, the current creative director. His tether to the mythically visionary Elsa Schiaparelli, who established her legacy fashion house almost a century ago in Paris, is obvious.<\/p>\n

Schiaparelli\u2019s offbeat aesthetic and collaborations with artists Salvador Dali, Jean Cocteau, Man Ray and others echo in spatters of celestial iconography and the elegant body bits strewn across Roseberry\u2019s collection.<\/p>\n

<\/p>\n

Designs by Maison Schiaparelli featuring at this year\u2019s NGV Triennial: jacket (top) and jewellery bustier from the Matador Couture collection.<\/span>Credit: <\/span>Courtesy Maison Schiaparelli<\/cite><\/p>\n

He\u2019s cast eyes, noses and lips into gold jewels and spectacles, for example, and disturbingly witchy fingers and toe extensions. A golden face mask requires the wearer to bite into it to keep it in place, and a \u2013 whaaaaat!? \u2013 \u201cbrooch\u201d features full-sized maternal breast with feeding golden baby attached.<\/p>\n

<\/p>\n

A model wears Schiaparelli\u00a0couture for the autumn 2022 fashion show in Paris.<\/span>Credit: <\/span>New York Times<\/cite><\/p>\n

Roseberry\u2019s work also resonates with his \u201ccelebrity darling\u201d status, a golden goal since he joined the house from quirky US brand Thom Browne in 2019. He set out to dress A-listers, and did just that and more every season: Beyonce, Rihanna, Lady Gaga, Jennifer Lopez, a string of Kardashians (who could forget Kylie Jenner\u2019s lion\u2019s head frock from January?).<\/p>\n

<\/p>\n

From left, Gwendoline Christie in Iris van Herpen, Kylie Jenner in Schiaparelli and Janelle Mon\u00e1e in van Herpen.<\/span>Credit: <\/span>Getty Images<\/cite><\/p>\n

Lean in to the shimmering, thickly beaded gold mini gown Beyonce wore for Vogue<\/em>, for example; it\u2019s his miracle of haute couture craftsmanship. Or a black silk coat from his spring\/summer 2022 collection (also showing at NGV), sharply schlooped into actress Gillian Anderson\u2019s waistline by a cunning arrangement of gored panels (an invention of Elsa Schiaparelli), not corsetry as you might expect, with gold embellished \u201cghost corset\u201d heavily embroidered into the front.<\/p>\n

Enigmatic Dutch designer Iris van Herpen\u2019s Triennial exhibit, \u201cAnanda-Maya\u201d from her autumn\/winter 22\/23 Meta Morphism collection, is equally spectacular. She created it in all-white materials with a central spindly carapace of twisting, thickly embroidered synthetic ribs anchoring tendrils of stiffened mesh that appear to roil and swirl like smoke around the body. Matching 3D printed platform shoes are spiky and white as bleached coral.<\/p>\n

The beauty is strange, utterly impractical. \u201cHow would you sit in that,\u201d was overheard at van Herpen\u2019s haute couture show. Only the right-sized celebrity heading up the right red carpet or the most intellectually engaged of her haute couture clients with a lazy $100,000 (I\u2019m guessing) could possibly give Ananda-Maya, or almost any other van Herpen, a fair crack at practical use as a fashion garment. An item of clothing, in other words. Bahahaha!! indeed.<\/p>\n

<\/p>\n

Clockwise from main: Iris van Herpen with a dress from her 2016 collection in her Amsterdam atelier; a staff member works with laser cut fabric frames; the Ananda-Maya gown features in this year\u2019s Triennial.<\/span>Credit: <\/span>New York Time, Iris van Herpen<\/cite><\/p>\n

On a video call with van Herpen, 39, from her Amsterdam atelier, she ranges across all the ways that mystifying fashions like hers and Schiaparelli\u2019s might be, if not understood, then at least accepted with less angst by mere mortals.<\/p>\n

\u201cEven if it\u2019s difficult for someone to consciously understand the concepts, even if they\u2019re not familiar with the inspirations behind it, and if they don\u2019t know me, haven\u2019t read a single interview about me, the [designs] are strong enough … that they can still feel and translate on an emotional level,\u201d she offers.<\/p>\n

Van Herpen\u2019s pale face looms, appropriately ethereal as a Renaissance madonna\u2019s, loosely framed by long unstyled hair, out of the fogged-out Zoom backdrop. She\u2019s soft-spoken, precise, quick to smile, immediately likeable.<\/p>\n

We talk about open minds, gut feelings (the best tools to observe baffling fashions), and how marvellous it is when certain celebrities on red carpets and runways act as \u201cbridges\u201d or \u201cconduits\u201d between the aghast public and some of her wackiest (my word, not hers) iterations and out-there ideas.<\/p>\n

\u201cTheir braveness and energy brings my work to life,\u201d she says of Lady Gaga, Bjork, Zoe Kravitz, Janelle Mon\u00e1e and the many other \u201cbrave\u201d celebrities who have ignored the scoffers and trolls and agreed to be buckled, clamped, stitched, fused, heat-bonded or moulded into the latest van Herpen. Actress Gwendoline Christie, for example, (the towering Lady Brienne of Tarth in Game of Thrones<\/em>), once described climbing into a van Herpen as \u201cbeing bound up in the technology of what it is to be alive\u201d.<\/p>\n

Van Herpen and I also talk about how, in woke-speak, exhibitions such as the Triennial can offer a \u201csafe space\u201d for minds to open and gut feelings to blossom around weird-looking outfits. Which raises the mildly annoying question that journalists (not me) ask most often: \u201cAre you an artist or a fashion designer?\u201d<\/p>\n

\u201cI would not know why you have to choose,\u201d she says. \u201cIt can easily be both. In history it was common for an artist to be also, for example, a scientist, but nowadays people really want to understand which box you are in.\u201d<\/p>\n

There is no box to house van Herpen. Up to 18 mind-blowing designs a season emerge from the all-engrossing collaborations she nurtures with physicists, biologists, academics, technicians, artists, architects, musicians, choreographers, filmmakers, milliners. She fuses couture craft with technologies, often in airy designs that are laboriously invented by trial and error, micro-success and micro-failure.<\/p>\n

<\/p>\n

Iris van Herpen: \u201cI\u2019m always looking for timelessness.\u2033\u2063<\/span>Credit: <\/span>Courtesy of the artist<\/cite><\/p>\n

She was the first designer to investigate 3D printing and hand-casting. She laser-cuts, blow-torches, shreds, fuses, moulds, and creates previously unthought-of materials. She experiments with electricity, sound, water, anti-matter, magnetic fields. Once, she and Belgian artist Lawrence Malstaf shrink-wrapped models into clear plastic envelopes and suspended them from the ceiling. Post-show she was shrink-wrapped herself.<\/p>\n

Van Herpen\u2019s designs invariably end up in museums and galleries more often than wardrobes. No surprise there. The point of their pointlessness as fashion designs is their payload of ideas, everything from cultural diversity to the knock-on effects of climate change, salty and snapping fresh from the zeitgeist.<\/p>\n

\u201cBut definitely my own personal zeitgeist,\u201d she corrects. Van Herpen is at pains to explain her criteria for new projects does not include the zeitgeist\u2019s blips, fads and flashes-in-the-pan. \u201cI\u2019m always looking for timelessness. For example, a concept like aquatic architecture \u2013 I\u2019m interested in this now \u2013 will be going through an evolution in the coming 50 years.\u201d<\/p>\n

Arcing across all van Herpen\u2019s work is her constant experiment with fashion\u2019s core tenets, especially its traditional notions of femininity and beauty. \u201cThe exploration of femininity is really key to everything I do,\u201d she says. Her designs are unarguably beautiful, but in unexpected ways. Ananda-Maya, for example, may be an exquisitely hand-crafted high-tech haute couture ode to experimental materials and the human struggle with self-realisation in a world of merging digital and physical identities (feel free to jot that down), but it is also gut-punchingly gorgeous.<\/p>\n

So, gloriously stupid, or simply glorious? It depends which side of the fashion divide you land after looking closely and weighing all you now know about van Herpen with that tangle of psycho-social baggage mentioned earlier.<\/p>\n

NGV fashion and textiles curator Katie Somerville equates van Herpen, Daniel Roseberry of Schiaparelli and other \u201cbrave minds\u201d like theirs to fashion\u2019s equivalent of a research and development department.<\/p>\n

\u201cLike any field or industry, you\u2019ve got this laboratory of ideas,\u201d Somerville says. \u201cIt\u2019s those exciting, brave minds that want to explore things that haven\u2019t been played with before.\u201d<\/p>\n

She and co-curator in the NGV\u2019s fashion and textiles department, Danielle Whitfield, have clocked a combined 50 years acquiring these disruptive designs that ping in the zeitgeist, mark their moment in history and, one way or another, push fashion\u2019s slow, messy, back-and-forth process of evolution forward by a whisker or six.<\/p>\n

\u201cI guess it\u2019s almost instinctive,\u201d Somerville says of the complicated mechanics, \u201cbut you do build up a visual bank [of fashion] in your head.\u201d<\/p>\n

If you\u2019re puzzled at this point by what exactly fashion evolution is, use the \u201cpowdered wig\u201d inquiry for enlightenment. Across centuries of (European) civilisation, how did we get from primitive skins, to medieval hopsack, to Rococo crinolines and powdered wigs, to modern micro-frocklets and jeans\u2019n\u2019Ts?<\/p>\n

Chip, chip, chip is the answer. \u201cThere\u2019ll be some element, some small gesture that people will absorb,\u201d says Somerville of the NGV\u2019s apparently baffling exhibits. \u201cIt might be a colour palette, a material, accessories … but it\u2019s something they\u2019ll feel comfortable adopting themselves when they feel creative.\u201d<\/p>\n

The University of Melbourne\u2019s Lauren Rosewarne says \u201cit could be feathers or certain prints\u201d. \u201cWithout fully understanding that that outfit, intact, is not actually ever going to be sold to you; it might take quite a while but bits of it, details, will end up at your local shopping centre.\u201d<\/p>\n

And so fashion evolves: disruptors disrupt, hardened fashionistocrats, plucky celebrities and adventurous dressers snub the scoffers to adapt their designs and make them their own, a pall of public acceptance descends, more and more people wear the weird and, voila, ideas once considered gloriously stupid are slowly normalised. Just glorious.<\/p>\n

The Triennial is at NGV International, December 3 to April 7, 2024. Iris Van Herpen: Sculpting the Senses<\/em> is at Brisbane\u2019s QAGOMA from June 29 to October 7, 2024.<\/strong><\/p>\n

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