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FASHION

West coast fashion: it’s all in the jeans

The dapper denizens of Gothenburg have mounted a challenge to Stockholm's long-time dominance of the Swedish fashion world, writes Matt O'Leary.

While Stockholm may still hog the fashion headlines, Sweden’s west coast has recently emerged as a region to watch for international followers of fashion.

Local brands with casual wear focus have rapidly become the talk of fashion journalists worldwide – particularly when it comes to denim. It’s not uncommon to open a style magazine and find new designs by the likes of Dr Denim, Nudie, and Julian Red peppering the “must buy” pages.

Earlier this year, the +46 award — dedicated to recognizing the best Nordic industry talent and voted for by a panel of Scandinavian fashion experts — went to Annika Berger, a young designer from Vänersborg (90km north of Gothenburg) whose high fashion, unisex Skyward label impressed commentators and buyers worldwide.

However, while Berger’s quirky, voluminous designs may seem better suited to the catwalk or gala opening than the supermarket or office, Gothenburg has also spawned a whole host of designers and companies producing interesting, ready-to-wear fashion with an increasing global appeal.

Gothenburg-designed denim can often be glimpsed gracing the pins of pop culture icons, rock stars, actors and actresses. But while west coast brands are quickly gathering industry plaudits, each also remains fundamentally available to most casual, interested shoppers – the city seems to have a knack for inspiring designers to make internationally renowned fashion at accessible prices.

Alexander Graah, one of the founders of Dr Denim, tells The Local that the emergence of this style is partly a reaction against earlier trends in casual wear. Founded in 2003, the brand’s first collection in 2004 was well received, making it into stores the following year.

From day one the company has sought to provide an alternative to the overwrought and needlessly expensive denim saturating the market. Graah’s insistence that Dr Denim should differ from brands which “overdo everything” and vowed to steer clear of the bling-festooned, pointlessly expensive designer jeanswear available at the time.

“We spotted a gap in the market, in general, and thought: ‘Let’s turn it upside down’. We wanted to design something which is interesting from a product perspective.”

Isolating what he believes is a quintessentially Scandinavian quirk – a “less is more attitude” – he and his colleagues set about creating a style which focuses on attention-grabbing cuts without going over the top with accessories, washes, and other additions that render the clothing useless for daily wear.

“It’s a Swedish cultural thing – most people wear jeans to work, even if you work for a big company, which you can’t do elsewhere. At the end of the day, we need to sell these”.

The same could be said for a number of the local casual-wear brands, which perhaps accounts for the increasing worldwide popularity of the styles – a blend of distinctly Nordic style, modern design innovation and practicality.

Graah believe that the decision of many talented Gothenburg design school graduates to first work for large clothing stores roots them in practicality rather than high-concept fashion. Local firm Monki is a case in point. Offering functional, affordable clothing, Monki is touted by Graah as a brand to watch.

There are, of course, countless other designers and brands striving to make Gothenburg a focal point for fashion – the annual Fresh Fish competition/fair is a good place to find tips as to what’s coming up (you can find information on their, website).

Similarly, stores such as Victoria Arena (situated on Kungsgatan in the city centre) are good places to happen upon styles from lauded, local designers. Brands such as Emma & Malena, the ethically-aware Dem collective and Gissy can also be found in shops across the city, as well as throughout other parts of Sweden.

As fashion markets worldwide shift their focus to high street brands, Gothenburg’s dedicated cluster of talented designers can be expected to continue to exert their influence on a move away from the catwalk and onto the street.

Matt O’Leary

FASHION

Paris exhibition celebrates 100 years of French Vogue

A new exhibition in Paris will tell the story of 100 years of French Vogue - from the post-war 'New Look' of Christian Dior through the sexual liberation of the 1960s to the dangling-cigarette waifs of the 2000s.

French Vogue celebrates 100 years
French Vogue celebrates 100 years. Photo: Thomas Olva/AFP

But as well as celebrating the magazine’s storied history, the exhibit comes at a time of turbulence for the publication.

Just last month, it was confirmed that its editor of 10 years, Emmanuelle Alt, was out and wouldn’t be replaced.

She was not alone.

Looking to cut costs, owner Conde Nast International has axed editors across Europe over the past year, and put international Vogue editions under the direct control of global editorial director, Anna Wintour, in New York.

New York-based Anna Wintour now has overall control of French Vogue. Photo by Christophe ARCHAMBAULT / AFP

Like much of the media industry, Vogue is struggling with tumbling sales and ad revenue in the digital era.

But the latest twist is also part of the endless push and pull between New York and Paris going back to its early days.

“The whole history of French Vogue is one of back-and-forth with Conde Nast in New York – growing more independent for a while, then being reined back in,” said Sylvie Lecallier, curator of the new exhibition, “Vogue Paris 1920-2020″, which opened this weekend after a year’s delay due to the pandemic.

The Paris edition was often the loftier, more bohemian sibling to its more hard-nosed New York version.

But it was also the hotbed in which much of 20th century style and womenhood came to be defined.

“Paris was the place to hunt out talent and content and bring it to New York,” said Lecallier.

The exhibition charts the evolution from art deco drawings of the 1920s through the erotic image-making of photographers like Helmut Newton in the 1960s and 1970s.

Its last peak was under editor Carine Roitfeld in the 2000s, who brought back a provocative Gallic identity by ridding the newsroom of foreign staff and becoming a fashion icon in her own right.

Her successor, Alt, was a quieter presence, though she still oversaw key moments including its first transgender cover star, Brazilian Valentina Sampaio, in 2017.

But internet culture has created “a perfect storm” for Vogue, says media expert Douglas McCabe of Enders Analysis.

“The first 80 years of Vogue’s life, it had the market to itself, it was the bible for fashion,” McCabe told AFP.

“But online today, there are so many other ways to get your information. Influencers, Instagram, YouTube — everyone’s a threat.”

In a world where new fashion trends can blow up around the world in seconds, it has become much harder for a monthly magazine to set the pace.

“It’s not that they can’t survive for another 100 years — but they will be differently sized,” McCabe said.

Vogue has tried to branch out into different areas, including events.

“I used to work for a magazine, and today I work for a brand,” Alt said on the eve of French Vogue’s 1,000th issue in 2019.

But the big money was always in print, and Vogue Paris sales are dropping steadily from 98,345 in 2017 to 81,962 to 2020, according to data site ACPM.

It is perhaps unsurprising that the new top job in Paris, redefined as “head of editorial content”, went to Eugenie Trochu, who was key to building the magazine’s online presence.

She declared herself “thrilled to be part of Vogue’s international transformation”.

For the curator of the exhibition, it is ironic timing.

“We had no idea it would end like this when we started work on the exhibition,” said Lecallier.

“Who knows where it will go from here.”

The exhibition Vogue Paris 1920-2020 is at the Palais Galliera in Paris’ 16th arrondissement. The gallery is open 10am to 6pm Tuesday to Sunday and is closed on Mondays. Tickets for the exhibition are €14 (€12 for concessions and under 18s go free) and must be reserved online in advance. 

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