Menu

Fashion Observed


Trend observations with a sociological eye from afar...

by Darryl S. Warren  

Follow  on Twitter:         @FashionObserved
              on Instagram:   @fashion_observed_ 
              on Facebook:      /FashionObserved
              on Pinterest:      /FashionObserved

Finding One’s Religion

One doesn’t normally equate spirituality with fashion, certainly not when looking at a typical runway collection where materialism is the chosen idol to appease. However, when looking at how fashion incorporates our point of view and perspective in society, there is no better gauge from a sociological perspective.

Our values and moral compass are very much connected in the cut, the way our body is covered or revealed, and to what degree. Stricter dress codes form cultures where religion is prominent, such as Muslim dress, detail the strictness of adherence and honoring of one’s beliefs. In cultures where freedom of expression abandons such restrictions, our beliefs tend to be on how our garments are worn, such as in the way shirt is buttoned or the choice of a length of skirt or even in the relaxing of volume to draw attention away from one’s sensual attributes.The fashion landscape from the Big Four, of course, looks to the modern mind of fashion and offer more variety, some that of course runs contradictory to codes where modesty is called into play. But our cultures are certainly thinking about religion and spirituality. As we are a third of the way into the year that was touted to be more apocalyptic in predictions, we have moved to mindsets where some are at peace with what may or may not come and some have decided nothing will come and have moved on. What is interesting is how circumstances are finding us looking a little deeper at what lies beyond and our role with it.

During the late 30s little know but silver screen cult favorite, designer Valentina Sanina Schlee,  created demure fashions that were subtle and monastic. With a theatre background she saw life to be lived with vigor, our clothes a personal costume for the role we live. Hollywood in particular was where her work found favor and she designer with the religious aesthetic right through the 50s. It is no surprise that this inspiration found itself during some of the more tumultuous periods of history. Depression, war and nuclear fears all provided an ominous backdrop where religion becomes the antidote in the face of powerlessness amidst such moving issues of the day.

During the 50s the Eisenhower years supported a return to religion as an antidote to the mass consumption that was capitalized on after the war years. With consumption touted as the antidote he felt people were losing their way and brought forth the idea of reconnecting with faith. Given the emergence of the apocalyptic-inspiring Red Scare and the uncertainty of where our technology was leading us as we reached forward and beyond contributed to this spiritual reconnection, not to mention that religion was anti-communist. In fact, during the 50s, church attendance spiked.

Fashion got more inspired. Not only did Valentina have a hand in monastic fashion through dressing some of Hollywood’s greats both in and out of film, but another fashion powerhouse also took to religion for inspiration: the incredible genius (and self-taught) Cristobel Balenciaga. Here it was the regal vestments of religious origin from cardinals, bishops and whatever else came from the Vatican. Cuts inspired by their ceremonious robes and headgear found their way into women’s couture, albeit reinterpreted with high style in mind.

With nuclear fears and society questioning organized religion in the 80s, we saw religious icons re-emerging in the fashion sphere, this time from designer Jean-Paul Gaultier. Here he applied a more deconstructive edge in the application of religion as inspiration that reflected religion’s role as a topic within our society struggling with faith during anticipated crisis while media was examining televangelism and the way religion was becoming more combative with our society as more permissive views such as gay rights were becoming more mainstream through acceptance within pop culture.

Now we have apocalypse on our mind: anticipated fears of global catastrophe from our collapsing environment and fears of poverty and another Depression mix with legend of ancient prophesy and religion having more influence in politics. How can we not have religion on our minds? Whereas hints were coming from a few designers last year (ThreeAsFour, for example) this year it is more prominent. Some of it came from the architecture, such as Vera Wang, which had cathedrals in print and referenced in some garment assembly, or Versace, which had stained glass and crosses as patterning. Carven had cut outs on some separates like giant lace or church stained glass framing and cathedral stained glass patterning.

Some of it had more historic referencing from a more medieval place. But rather than the obvious role of the church integrated in society perhaps a more fitting reference might be the Inquisition, especially when looking at the religious right demonizing public figures and their push for more influence in politics. Dark ages always follow a fall of a civilization, and religion serves to gather more influence during those periods. The expectation of a possible societal collapse is more enhanced as rather than regional, our culture is now more internationally synchronized; an actual collapse would be way more impactual. Aquilino.Rimondi featured some garments with medieval tapestry patterning. Carven also had some tapestry patterning in their collection. Colette Dinnigan had a vaguer reference in French medievalism in pattern , somewhat armor-like in a monochrome nature with cap sleeves and a pulled -in waist, belted like a peasant’s sack garment. Damir Donna had shorts over leggings that took on a hint of this period’s aura, especially when paired with crosses and capes. Some of the items from John Galliano also had a leaning to the religious aspect of this period with deconstructing capes incorporated into design. Meanwhile, Yves St. Laurent included chain mail amidst pieces in his collection.

We are a visual society. Images transcend language barriers like vivid hieroglyphs that can be more easily understood by a world that is well-connected. And some see it as a religious experience…or an experience of religion. Thus, it is not hard to see it infiltrate our culture through fashion. Given how politics plays a more integral role in our society, especially when looking at the Middle East or the lingering effects of the war on terrorism, it’s hard not to separate church from state…of mind, that is.

Go Back

Post a Comment
Created using the new Bravenet Siteblocks builder. (Report Abuse)