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FASHION

Young Spanish designers reclaiming traditions

Young Spanish designers are reclaiming their "Spanishness": age-old traditions, religious imagery and even the colour black, which centuries ago was a signature of the country's all-powerful monarchy.

Young Spanish designers reclaiming traditions
A visitor at the 'Modus' exhibition in Madrid. Photo: Gabriel Bouys.

That is one of the messages at the “Modus” exhibition currently running in Madrid, which explores the influence of Spanish history and tradition on global fashion, including up-and-coming designers. 

“It's a very important moment (for Spain) with designers like Palomo Spain, Leandro Cano, ManeMane, who are reclaiming Spain's position in fashion,” says exhibition curator Raul Marina. “Young designers are making noise again, and they're doing so via  inspiration that is totally Spanish.”

Black and side hoops

Take black, a colour that has come to symbolise French chic as epitomised by Coco Chanel's 1920s little black dress.

Its use in fashion actually originated in 16th century Spain. Before that, it had been a difficult colour to wear. After multiple washes or through constant use, the dye would just subside and turn into a greyish, brownish mush.

But then Spain conquered the Americas, and more specifically Mexico in the 16th century. There Spaniards discovered a tree called logwood. It held a secret – from its wood could be made an intense and lasting black dye. 

At the time, Spain was a major economic and political power. King Felipe II adopted that intense black as his own and the fashion statement soon spread.

The monarchy was “a reference for all its European counterparts, as was its austere black gown which would become the expression of maximum elegance,” Amalia Descalzo, an expert in clothing history at Spain's ISEM Fashion Business School, writes in the exhibition booklet. And so it has continued.

Foreign and Spanish designers like Cristobal Balenciaga embraced black in their creations and the younger guard are doing so too, in their own way.

On show at Madrid's Sala Canal de Isabel II is ManeMane's black bodice and skirt, complete with a hat typical of the southwestern region of Extremadura, where brand founder Miguel Becer comes from.

The same century that Spain promoted black, it also created the “verdugado”, a structure worn under a skirt that held it into a fashionable shape. That fashion statement also spread Europe-wide.

Later Spain unleashed another trend — the “guardainfante”, loosely translated as “infant-guard,” side hoops that extended the skirt at the sides. “They said it hid ladies' pregnancies,” says Marina.

The quirky “guardainfante” was famously immortalised in painter Diego Velazquez's masterpiece “Las Meninas.” That influence is visible in Juanjo Oliva's yellow, bell-shaped velvet dress, on show in the exhibit.

Bullfighting, flamenco

Then come Spain's world-famous exports — flamenco and bullfighting have inspired designers from other countries.

A Givenchy bullfighting-style jacket made out of black velvet with arabesque-like red embroideries and pearls.

 A black Lanvin dress with a cascade of ruffles and cream-coloured polka dots inspired by southern Andalusia's flamenco tradition. “It's often said that internationally, foreign designers have soaked up and felt prouder about Spanishness than us,” says Marina.

But that's changing, he adds. Religion, tradition are making a comeback. Palomo Spain, whose flowery gown was worn by Beyonce in July 2017 for her first shot with her newborn twins, has a short white silk dress with a halo-shaped headdress on show.

Leandro Cano's white tutu-shaped dress with flower prints — as once worn by Lady Gaga — takes inspiration from the reign of King Felipe III. ManeMane's creations on show are influenced by craftwork from Extremadura.

'Awakening'

Fashion consultant Marta Blanco says there is an “awakening” in an industry she feels was marked by a sense that “anything Spanish harked back to the Franco regime.”

But 43 years after the death of right-wing dictator Francisco Franco, that's waning. “Someone like Leandro Cano can get inspiration from Spanish bullfighting, from religious imagery… without it evoking fascism,” says Blanco.

She believes there is also an “awakening” among Spanish consumers who feel “pride” in their country. Spain's superstar chef Ferran Adria created a global revolution in gastronomy, Spain won the World Cup in 2010, Euro in 2008 and 2012, Rafael Nadal is a major tennis star, Spanish brand Zara is everywhere.. “That creates empowerment,” says Blanco. “Ferran Adria took away our insecurities, and now it's happening in fashion.”

READ MORE: Barcelona's Senegalese street vendors present own clothing line

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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