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PORTNOY'S STAMMTISCH

FASHION

Of mullets and men

In the latest installment of Portnoy’s Stammtisch, The Local’s column about life in Germany, Portnoy slicks back his locks to explore the nation’s hairstyle fetishes.

Of mullets and men
Photo: DPA

When I was 17, my mother started hassling me daily to let her cut my hair. Even though by that time she was an executive of a hair-colour company, she swore she had never forgotten her roots working long hours in salons.

I deflected her requests – I’d let her pay for my clothes but she didn’t get to pick them out and the same was true for my hairstyle. After all, at 17, the last thing you want is to look the way your mother wants you to.

I also had a secret reason why I wanted to keep my hair the way it was – it had originally been cut by a German (at the time I thought this was synonymous with “European”) and it was the same style as all the Dutch cyclists I worshipped back then. Maybe you can guess just what kind of hairdo I had: It was the late ’80s and most pro cyclists favoured the same style as pro soccer players. That’s right, I had a mullet.

But it was very stylish, I assure you. It wasn’t of the Rudi Völler mullet variety.

At the time, I also didn’t know Germans had named the hairstyle using their penchant for acronyms. In Germany, a mullet is known as a VoKuHiLa for: Vorne Kurz, Hinten Lang (short up front and long in the back). It’s the same way they arrived at the candy treat Hanuta: HaselNussTafel. Or Adidas, short for the name of its founder Adi Dassler.

I eventually acquiesced to my mother’s pleading and let her give me a crappy haircut. After an hour of bickering, she swore she would never, ever cut the hair of such an ungrateful son again. A bad haircut is an expensive price to pay to get your mother off your back, but it also cinched my obsession with German hair.

My father once visited Germany during some election and Kurt Beck of the Social Democrats was constantly on the TV as the head of his party. It bothered me that this roly-poly, hairy dude was the face of German politicians – there are normal people here, I assured my father, not like America’s über-slick political class.

But when Beck’s visage pops up on television I think one thing: hedgehog. And it’s not just me. Officially, the hairstyle that man – the state premier of Rhineland-Palatinate – wears is called the hedgehog, or the Igel. Trust me, Google it.

To me, if one of your most important elected officials walks into the salon and says: “Give me the Igel,” he’s doing something wrong. He just wants a haircut, not a spiky hirsute mammal. No, the Igel hasn’t landed – ON YOUR HEAD.

And he’s not the only politician doing it. It’s popular with Petra Pau over at the post-commie party The Left too. It’ s a unisex Teutonic hairdo, I guess. Maybe everyone should get the hedgehog – plenty of my German in-laws certainly have it.

There’s only one style that would be worse on a politician, and even the tabloid Bild would pick up on it: the Porno Palme. That’s right: the Porno Palm. What is it, you ask? It’s that little tree of (usually) bleach blonde hair formed when a woman creates a pony tail on the top of her head rather than the back. It’s usually accompanied by an Arschgeweih (literally “ass antlers” and we call a “tramp stamp” in English) and is de rigeur at Tussi Toasters – bimbo toasters aka tanning salons.

Speaking of ponytails, I’m always bothered when Germans talk about their ponys, not just because they’re misusing English but because I immediately think of a ponytail. But what they actually mean is their bangs (or fringe for you Brits). A ponytail is a “horsetail” (pferdeschwanz) in Germany.

However, my favourite word for a German haircut is the Irokesenschnitt, the Iroquois cut otherwise known as a Mohawk. Wikipedia tells me the Iroquois were the parent tribe of the Mohawk Indians, so both are apparently proper hairdo nomenclature.

It turns out, haircuts go even deeper into German culture. Back during the War, a simple women’s hairdo was known as the Entwarnungsfrisur, or “all-clear cut” since it was the perfect thing for spending nights in a bomb shelter.

There is also of course the Glatze – how Germans refer to a shaved head – which can be either bad or totally modern depending on the accompanying wardrobe. Though the right-wing extremist look might not be what you think – as I once learned during a night out in Berlin’s gay district. Remember: A tough-looking skinhead may just be very, very gay.

Don’t even get me started on meaning of the German Schnauzer moustache, but be forewarned – it’s coming back.

These days my frisur is difficult to define as it’s shaped by my duties as a father of two, a full-time correspondent, a part-time comedian and lack of a niggling mother. I believe the Germans would call it the Fatwofuticopaticonimo.

Since a good German Stammtisch is a place where pub regulars come to talk over the issues of the day, Portnoy welcomes a lively conversation in the comments area below.

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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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