Fashion Week - A Limited History of Couture

Before we approach the heaping sartorial smorgasbord of Fashion Week, I'd like to write a little about the history of modern couture and how it should be digested. As with most topics, my qualifications are scanty and my opinions are the musings of an amateur enthusiast.

For thousands of years, ordinary people have sewn their own clothes, while people of power and means have had their clothes made for them, often at extraordinary expense. A major part of power, after all, is appearing to be powerful, and sumptuous clothes have always been a part of creating that appearance. During the mid to late 18th century especially, being powerful meant wearing indulgent, excessive designs, and entire industries thrived on the French court's love of silk and ostrich feathers.

But the anger and desperation of the ordinary people of France reached fever pitch in the 1780s, and even the most oblivious members of the court realized that yards of opulent lace, silk, and velvet were no longer appropriate or wise. High fashion in France was dramatically simplified, and the aristocrats of other nations gradually followed suit. Simple white chemises came into favor, due in part to the fact that chemical bleach became widely available for the first time. The industries that had been built around the extravagant tastes of the court dwindled as feathers, silk, velvet, elaborate fans and intricate handmade lace were replaced by simple muslin dresses, straw hats, and kerchiefs made of bulky machine made lace.

Just as computer animation and the high cost of labor have ensured that we will never see another Hollywood epic with thousands of extras in costume milling around custom-built sets, the development of modern economies and the democratization of the western world have ensured that we will never again see the extravagance, the craftsmanship, or the artistry of the 18th century court dress.

Except...

Dior

Dior

Lacroix

Dior

The above looks, from Fashion Week in Paris, all borrow heavily from the trends of the 18th century. In the words of the magnificent Rose Bertin, "There is nothing new except what has been forgotten." As we pass through a period of decadence into a period of decay, perhaps these designers are intentionally reminding us of another era of opulence that has passed.

On a practical leval, modern couture is the dog and pony show that fashion houses use to attract prestige and attention, which in turn allows them to sell their ready-to-wear lines. But it is also the echo of the no-holds-barred artistry of the very best designers of the 18th century. Every design is its own unique expression of the possibilities of adornment of the human form, and of the power, personality, hopes, dreams and longings of the wearer. Every panel is cut, and every stitch is sewn, by a human hand. It is at its best an expression of high fantasy, a work of art and craftsmanship made to move with a human body inside. These clothes are not made for us to wear - they are made to spark our imagination and desires. At the risk of sounding corny, they are made for us to wear in our dreams.

And so, when we look at these clothes, we should look at them the way we look at a painting or a sculpture, not the way we look at an outfit we're thinking of buying. Think about how a design strikes you, visually and emotionally. Think about color, proportion, shape, texture. Think about what a design conveys about its place in history, whether it says anything new about old concepts, whether it says anything about the designer or the intended wearer. And keep in mind that what you see in a jpeg image of a garment is a very limited representation of the delicate craftsmanship that can only be appreciated in person.

With all of that in mind, don't be afraid to bitch. Just as there's a lot of bad art, there's a lot of bad couture. Let the games begin.