چهارشنبه 23 بهمن 1392
نویسنده: Randall Farris
When we see suiting and oversize silhouettes on the runway, we tend to call them masculine; anything made of silk or flowy below the waist is feminine. But for fall 2014, we’re seeing unprecedented gender fluidity on the runway—womenswear borrowing from menswear borrowing from gals borrowing from the boys—describing clothes in terms of traditional ideas of aesthetics of the sexes feels inaccurate, not to mention stale. In collections like Edun and The Row, silhouettes are formless, with legs cut so wide you can’t tell a pant from a dress and sweaters piled on, hanging low so body parts are left a mystery in a cocoon of cashmere. These pieces are more about how it feels to wear clothes. It’s an empowering concept. Here, style is: softness, true warmth, mobility—all the things that womenswear at times “sacrifices” for beauty by focusing on the outside gaze rather than the sensation of the person in the clothes. Does that make these clothes masculine? Certainly not. But this season forces us to reconsider why we apply male labels to so much that’s really just comfortable. These ideas aren’t just trendy coincidences: At Public School, we saw men and women walking the runway in essentially the same looks, while at Baja East, designers had male and female models switching clothes mid-presentation. The most gender-fluid (or perhaps post-gender) space in fashion belongs to Shayne Oliver of Hood by Air. Not only did men and women wear the same kind of looks in his Sunday show, there was no way to differentiate between the sexes. That is, all the sexes, not just male and female. After a show in which models wore tailored leather, charging the runway with chains around their necks, with long cargo shorts and haute-goth zippers, Oliver said that the show was inspired by glamour. Glamour doesn’t mean a dress or sequins anymore. It’s a feeling women and men can share that has nothing to do with gender.