If, in the collective imagination, the very principle of fashion is to prescribe the beautiful, the current fashion must be a paradox for many. Because since the fashion week spring-summer 2018, never what was considered until now as bad taste has been so successful. Shoes misshapen disordered prints, he conquers parades sometimes to the point of absurdity.
At Gucci , he has established himself through the maximalist and eclectic accumulations of Alessandro Michele . The banana bags surround the costumes and the jaw is dressed in a rhinestone jewel. The lack of taste is fully claimed yet, the turnover continues to climb. This might surprise but this trend is selling. Highly unobtrusive, it catches the eye and catches the eye. Exhausted everywhere in a few hours, the Balenciaga Triple S sneaker, Elephant man of the shoe, is the perfect example.
The Hybrid Rangers of clothing, parade man autumn-winter 2018-2019. Photo credit: Matteo Volta / ImaxTree
On the aesthetics, the comfort premium. More than eccentric, this fashion is often pragmatic. Crocs and Birkenstock , style outcasts revisited by fashion tenors such as Christopher Kane in 2017 or Phoebe Philo at Céline in 2013, owe their success to their practicality. This massive infiltration of pieces considered ugly reminds us that fashion has appropriated the cloakroom and popular culture. Opposed to the good taste set by Pierre Bourdieu by the bourgeoisie, bad taste is unconsciously defined by social norms. Result of a judgment of values, he has always been, with the vulgar, associated with the popular classes.
The Gucci spring-summer 2018 belt-pouch. Photo credit: Daniele Oberrauch / ImaxTree
This trend is then the sign of a widespread democratization of codes, at the time of the parade broadcast live? At Burberry , the return of the cap in beige tartan - that the brand had renounced in the 2000s because the popularization had made the uniform of hooligans - symbolizes alone the fascination of fashion for the street, imitated and aestheticized. At Balenciaga, the yellow, pink or fluorescent green wedges are reminiscent of Piero Manzoni's Merde d'artiste. Ultimate provocation, they make fun of their future buyer.
As a caricature, the ugly is used here as the satire of a voracious industry, whose frantic pace exhausts creativity. Often perceived as unattractive, the avant-garde is now voluntarily. A mistrust of dress code inscribed in the footsteps of the antifashion movement. According to the sociologist Claudine Sagaert: "The unsightliness disrupts because it deconstructs codes considered worthiness of social and sometimes moral decency. Every original creation carries with it some ugliness because it combines what has never been before. But is not this the proper of creation? "
