MIUSE: ISSUE 1

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N o 1Politics & Activism Page 137A BOLDSTATEMENTFASHION’SRELATIONSHIPWITH POLITICSPhoto: Courtesy of Vivienne Westwood“Fashion is not something that exists in dresses only. Fashion is in the sky, in the street. Fashion hasto do with ideas, the way we live, what is happening”. Coco Chanel’s notion was that fashion wasn’t purely justabout glorious fabrics and radical new designs, but about capturing the zeitgeist of the moment. In turn, thisinevitably meant that fashion would become intertwined with politics. With runways across London laying desolatethis summer as the city’s Fashion Week goes digital in response to COVID-19 related lockdowns, fashion remainsentangled with current political affairs. But this isn’t all, as the British Fashion Council adapt to the unprecedentedtimes, they’ve also taken a bold move to question the social and political boundaries of the fashion industry bymaking the event gender-neutral.
Author: Tom LeggPage 138With London Fashion Week tweeting “who makes the genderrules?”, the organisation is perhaps rubbing shoulders withthe world of politics once again. Although we see individualdesigners often present shows containing elements of sociopoliticalactivism, a move like this from the BFC begs thequestion, how politicised is fashion? The answer can partly befound on the runway, which is no stranger to fashion activism.This especially reigns true for the shows of Autumn/Winter2019. Over in New York, the heightened socio-politicalclimate in America meant the city’s 2018 Fashion Week wasrife with social commentary. Founder of Pyer Moss, KerbyJean-Raymond debuted a collection dedicated entirely tothe excellence of Black Americans. But although some looksfocused on “just black people doing normal things”, illustratedby bright images of black families, this was juxtaposed withslogans and graphic pieces referencing police brutality andthe ongoing fight against racism in America.It’s not always the garments that function as an implicitpolitical statement, but the performance of the showsthemselves. Tom Ford sent his FW19 collection down therunway accompanied with the Crowded House song “Don’tDream It’s Over”. With the lyrics: “They come, they come/To build a wall between us/We know they won’t win”,chiming a day after President Trump’s State of the Unionspeech in which he ordered the southern border wall to bebuilt, Ford was unapologetic about his political standpoint.However, subliminal messaging evocating political issues isn’tthe only way to get bold socio-political statements across to amass audience. Katharine Hamnett is perhaps best known formeeting the UK’s then-Prime Minister Magazine Thatcherwhilst wearing her printed t-shirt that read “58% DON’TWANT PERSHING” in scrutiny of Pershing missiles beingbased in the UK.She’s continued to enmesh her collections with politicalaffairs in her runway shows with catwalk models wearing“STOP WAR, BLAIR OUT” in 2003 and releasing amenagerie of slogan t-shirts on her website. Most recently,Activists4Grenfell display at LFW in February of last yearwas reminiscent of Hamnett’s slogan t-shirts, demandingjustice for the victims of the Grenfell Tower fire in 2017. Thesimplistic approach to social commentary during fashionweek is perhaps the best approach when mixing fashionand politics. This is something that was perhaps lacking inVivienne Westwood’s FW19 runway, being critiqued by Sleekfashion writer Angela Waters who suggested: “Certain issueslike wealth inequality, starvation and critiques of consumeristculture can look a bit tone-deaf on an 80-euro t-shirt”.Vivienne Westwood’s attempt to fill an entire collection withan abundance of differing political statements subsequentlybecame overwhelming and diluted the messaging completely.With monologues from models, criticisms of climate change,Hollywood and politicians, she exhibited how fashion canoften become too entangled with politics. But whethereffective or not, when it comes to making any bolshie fashionstatements, the clothes and performance can only take us sofar.It’s key to remember that although making noise is essential tomake a change, we need to follow it up with putting pressureon those who govern our society. Fashion’s relationship withpolitics doesn’t always originate from the runways, instead,fashion is sometimes utilised by social groups as a uniformfor protest. One of the most prominent examples of protestdressing was the punk movement of the 1960s and early1970s. As anti-establishment views grew throughout the1960s, so did non-conformity to mainstream fashion. Theconservative tea dresses of the 50s were replaced with leatherjackets and jeans, embellished with safety pins and other metalmodifications to mirror the angsty nature of the movement.Around the same time as the punk movement, Huey Newtonand Bobby Seale co-founded the Black Panther Party. Theorganisation patrolled neighbours to monitor and challengethe unfair treatment of African-Americans by the OaklandPolice Department and in turn, became an influential blackmovement organisation.Distinguishable by black leather jackets, berets and afros,the BPP’s unofficial uniform is a significant way the partyis remembered today. These uniforms still symbolise BlackPower even today, with Beyoncé paying homage to the partyand aligning it with the Black Lives Matter Movement at theSuperbowl 2016 halftime show. Though we are yet to see thelevel of anarchism caused by punk fashion in recent times,the concept of protest dressing is still present today. Probablymost recently is the Pussyhat Project, created by JaynaZweiman and Krista Suh. Fashioned as a response to thedeplorable comments made by Donald Trump about freelygrabbing women’s genitalia, the hat was a common sight atthe 2017 Women’s March in Washington DC.Fashion is inherently political; from what we wear to how wewear it. Whether it’s on the runways or in our wardrobes,fashion has always had ties with political change and worksas a perfect ally for protest. But in reflection, the questionshouldn’t be ‘how politicised is fashion’, it should be whetherit is politicised and effective enough to orchestrate real change.
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ISSUE 1 S/S 2020MIUSEMiuse Magazine
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The First Issue CONTENTSPage 3Page
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The Sustainability SectionTHE EFFEC
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