Fashion has long been a community driven by passion, artistry, joy, and invention, though, of course, around it has evolved an industry of perpetual motion, always moving, faster, faster, faster . . . until everything stopped. (1/2) VoguePostcardsfromHome
“These days, when I am not working, this corner of my garden is a little consolation.”
What is apparent from all the conversations with designers that helped to shape these pages, though, is that in addition to the obvious practical challenges, the short-term changes have created space to conceive of purposeful, galvanizing change over the long term, and given them the sort of time needed to reinvent—or reimagine—creative leaps forward.
Along with this instinct for disruption is a parallel imperative to use fashion’s creativity and passion not to return it to where it was but to take it to where it should be. Even before our world was upended, some designers had already begun upending the status quo. In February in Milan, Alessandro Michele—in what may be remembered as one of the last great shows of the Old Fashion System—presented a Gucci show that delicately pulled the traditional fashion spectacle inside out by making its backstage its front door in a spectacular, Fellini-informed presentation. “Friends keep asking me, ‘When will we go back to normal?’ Michele says.
Making these changes would be an act of pragmatic progress. More profoundly, the very notion of what a fashion show is, what it should and could be, is—as Gvasalia notes—a question that demands new, freshly inventive answers.
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