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FASHION FIX

FASHION

Sweden’s old-timers are back in style

This week, The Local's fashion-curious Victoria Hussey considers the sartorial style of Sweden’s seniors and welcomes a new age of fashionable old-timers.

Sweden's old-timers are back in style

As a twenty-something-nearing-thirty I do not profess to know the minds of the “older” generations. I do know, from conversations with older friends and relatives, that just because you reach a certain age you do not stop caring about the way you look.

And yet, for the most part, over fifties are banished from catwalks and ad campaigns. Funny, seeing as many of the fashion world’s greatest designers and chief editors of the most influential magazines are over fifty: Anna Wintour, American Vogue (63) Alexandra Shulman, British Vogue (58) Carine Roitfeld, Vogue Paris from 2001 to 2011 (58) not to mention Jean Paul Gaultier (61) and Marc Jacobs (50).

Back in Stockholm, there’s a decent spattering of well-dressed people in their fifties and sixties. Smart, effortless, clean; heck, it’s like they’re still alive enough to care about dressing well.

Queen Silvia of Sweden, 69 years of age and elegance epitomized.

IN PICTURES: Click here to check out Queen Silvia’s style through the years

Of course, Sweden’s Royal first lady probably has a stylist or ‘royal dresser’ but her plucky yet refined style is worthy of note regardless. Pretty much everything Her Majesty wears perfectly suits her role, her age and (permit me to add) her body. Queen Silvia’s confident colour choices and gladness to show a little skin is worthy of a courtesy. And let’s face it, she’s a knock-out.

I’ve noted three groups of senior style in Stockholm: those who, after decades of dressing themselves, still haven’t got it right; those who get it right and those who, quite frankly, don’t give a damn, either about fashion (and probably never have) or about the opinions of others concerning their style.

I recall one woman a couple of months ago in Stockholm head-to-toe in ruby red. She was Dorothy from the Wizard of Oz who, after falling in love with her fierce red heels, decided to coordinate everything else with them: hat, dress, tights, handbag, and lipstick.

Squinting, she resembled a crayfish and yet I was suitably impressed by her bold, unapologetic, dramatic style.

I felt inferior. Bland.

As my brain spun into a child-like, imagination whirlwind where I considered asking the Red Lady to tea, I couldn’t help but smile. I imagined listening to stories of how she dressed when she was in her twenties over tea, and the men she courted (one was called Max). I imagined she worked in a dress shop, went to the movies on a Thursday evening and had a collection of pearls and jewels to rival any rich duchess.

A week or so later, I gathered another addition to my tea party; an old boy in braces. He wore a mismatched tweed jacket and trousers topped with a fedora hat that Ol’ Blue Eyes himself would surely had in his collection. It was love. Warm, fuzzy fashion love.

Thankfully, over-fifties are themselves on trend.

For autumn/winter 2012 Milan, Prada used male actors of all ages to narrate the collection, namely Adrien Brody (40), Gary Oldman (55) and Willem Dafoe (58); proof enough that age is irrelevant when it comes to jaw-grinding sexiness. The Italian label’s 2013 campaign featured 55-year-old Tarantino-fav actor Christoph Waltz. Swoon.

Let’s also not forget that like buyers of ridiculously expensive supercars, those who buy high-designer fashion, especially couture, are often of a ‘certain age’ because they are the ones who can afford it.

Fashion survives, not just because of newness and youth but because of its older fans. If age isn’t something to be celebrated we’re all royally f*****d.

Victoria Hussey

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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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