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FASHION

Is it true that Swedes all dress the same?

In her weekly dissection of Swedish fashion, The Local's Victoria Hussey considers the Swedish art of sameness, and ponders the benefits of sartorial uniformity.

Is it true that Swedes all dress the same?

To first illustrate this premise before I move on to the very serious, earth-shattering debate of style sameness – otherwise known as an über trend for its universality and tenacity – let’s focus our attention once more on shoes (I find it’s often the best place to start. Bottoms up I always say).

In the twenties’ US of A, back in the days of jazz, prohibition, gangsters, and basketball, the Converse All-Star was born.

Since then, the popular sneakers have been worn by the inimitable Ramones and achingly cool Nirvana, not to mention being affiliated with one seriously hip-sounding American basketball player called Charles “Chuck” Taylor.

Converse are innately cool. Not avant garde in the least, but easy and cool. Period.

Which is obviously why one day a savvy Swede decided they wanted a pair. Followed by another style-hungry Sweden and another and another and another. Until the country was filled with so many canvas pumps that wardrobes could no longer contain them… Swedes turned to the forests to hoard their stashes of sneakers and lakes and rivers overflowed with misplaced All-Stars.

I once told a Swedish girl that I loved Swedish fashion, “Why? It’s so boring,” she exclaimed with what I can only describe as utter repugnance. I stuttered.

Hey, Swedes may be safe but they’re also stylish. Women in black jeans, black boots – classic Swede – classically chic. Men with slicked-back hair, coloured shorts, white shirt, a fitted blazer… probably in navy? Do you live in Stockholm? Östermalm perhaps?

I say thank heavens Stockholm guys in particular aren’t afraid of a bit of colour; a man in a pair of yellow trousers striding down the street always raises a smile – and what’s wrong with looking smart?

IN PICTURES: See what some well-dressed Stockholmers had to say about sameness in Sweden

Sameness, uniformity can be great. Here’s another case in point: peacocks.

All male peacocks sport the same blue-green fan tail, an electric, iridescent blue plumage, and those little feathers that look like eyes. They’re dazzling. If male peacocks had the brain power to think about fashioning their feathers another way, would they?

I don’t think so. They still always get the girl, right?

Imitation is the greatest form of flattery or so they say. So if something looks good, why not copy it? We all do it to some extent.

For me, it’s quite often make-up envy. I’ll spot a girl wearing a totally rad colour lipstick while I’m walking to the bus stop or day-dreaming about becoming a rock goddess as I’m drinking tea, and have to have it.

Swedish sameness is just this, just a little mellow and on a bumper scale. Why not wear the same as everybody else? If anything, Swedes seem to catch onto a trend and stick with what they know works. They find good, solid, stylish pieces and wear them to death.

But…

There’s also nothing wrong with standing out. Shocking people every once in a while.

The Midsummer flowers in your hair thing, for example. That’s not boring. It’s whimsical – granted you do it every year – but still it is fun, frivolous, totally superfluous and all the more alluring because of it.

I say, stick a feather in your cap Swedes and embrace frivolity.

Go crazy.

IN PICTURES: Six ways to dress like a Swede – revealed

Victoria Hussey

Follow Victoria on Twitter here

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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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