[QUOTE=featherlou]
You’re absolutely right, Excalibre. It doesn’t even matter to me what designers are doing, because I’m pretty sure they don’t affect the cheap, comfortable clothes I buy at Wal*Mart and Zellers anyway.
[/QUOTE]
Seriously. Go buy a copy of W or one of the other glossy high-fashion magazines. The ads (which are a visual feast in and of themselves) show high-end fashion that you might want to buy if you were wealthy. They show attractive people wearing attractive clothing, usually in blatantly provocative, sexual poses - those models are the perfect, glossy fantasy of what you would want to be or to fuck. (The most ridiculous extent being Versace ads - they’re a heavily gay-oriented fashion house - showing ass shots of nude men. Isn’t it silly to try to sell clothes using pictures of people who aren’t wearing any? Of course not.)
Then compare those with the photoshoots of couture shows in Paris or London or Milan - the appearance of the models is disturbing. High-fashion models are emaciated precisely because emaciated people are simultaneously compelling and disturbing. The women you see modeling those clothes are all rib cage and elbow and eyeshadow - no man wants to have sex with them, no woman wants to be them. Their hair doesn’t look attractive. Their makeup doesn’t look attractive. Their clothes generally look like carpet remnants and medical gauze held together with safety pins (which they probably are.)
These images are fascinating to designers, who are familiar with this visual medium and naturally seek out what’s new and different and shocking; they are useful marketing for the sort of people who are interested enough to spend a couple hundred dollars on a pair of jeans not because they are pleasing to the eye but rather because they are compelling. The women are walking geometrical figures - lines and angles, not solids. They are not attractive - even if these high-end runway models put on enough weight to reach normally appealing levels, they tend to have very odd faces: tiny eyes, extremely wide or narrow mouths, or other facial features that are striking precisely because they don’t match what we find normal and attractive (psychological experiments show that the most attractive faces tend to be those that have very average features; computer-generated averages of faces are more attractive to viewers than the real faces that compose them.) Take weird-looking people, starve them, fry their hair with crimping irons, put makeup on them so they look like cancer patients or people who just got mugged, and dress them in the most outlandish clothing you can imagine. That’s a runway show.
This stuff is both a game to amuse fashion designers and enthusiasts and a marketing tool targetting those with excess money. But they’re not in themselves attractive and they’re not a representation of what anyone wants to look like; designers may actually sell some of the clothes they design for fashion shows (I wouldn’t know), but they certainly don’t sell many and it’s not where the profits come from (the profits come, to some extent, from expensive but not super-expensive clothes sold in high-end boutiques and department stores, and to a much greater extent from the sale of perfume. In many ways, high-fashion is an extremely complicated marketing tool to sell perfume. Chanel doesn’t make its money from dresses, it makes it from Chanel Number 5.)
Another comparison point - take one of those magazines and compare the women doing actual high-fashion modeling and compare them to women modeling something explicitly in an attempt to sell it. Look in other magazines or on TV commercials for examples. Examine women in catalogues, or makeup ads, and decide who’s more attractive. The faces of cosmetics companies, for instance, are generally extremely attractive women. Tyra Banks does not look like she just tunnelled out of a concentration camp. She is what men want to have sex with and what women want to look like - big eyes, slim but curvy body, attractive facial features. No yawning cave under her ribcage where her stomach should be. That’s because when you see her face in a magazine, the advertiser is hoping you will buy their makeup in an attempt to look like her.
Jean-Paul Gaultier did not stick a two-hundred pound woman in a negligee with rolls of fat on her hips because he thought she looked good, or because he gives a rat’s ass about designing for all women. If he did, he would have chosen someone chubby, not someone obese. He did it because her appearance is shocking - and all the moreso because it seems to embody commentary on the fashion world, and because she’s such a visual contrast to the other women on display. She is a symptom of the insularity and self-referentiality of high-end “fashion” - her purpose has nothing to do with marketing to normal women and everything to do with being talked about and creating something even more bizarre than all the other designers there this year. She’s the other side of the coin from the other women - they are starving to death, she’s risking an early death from complications from her weight. Both are visually shocking and neither are remotely attractive to anyone in the real world.
As is probably obvious, I find fashion magazines pretty fascinating. These sexless, grotesque parodies of people wearing their sexless, grotesque parodies of clothing is bizarre and compelling. Apologies for my rambling.