Hood By Air and Vetements, two of the hottest brands around, find muses in their colleagues and close collaborators-and in Vetements’s case, the homage includes putting friends of the house such as designer Gosha Rubchinskiy, who looks like a punk Pan, and strapping, square-jawed stylist Lotta Volkova on the runway. Hadid isn’t the only one paying attention to people behind the scenes. And Alexander Wang speaks for much of the fashion industry when he observes that “at a time when the notion of what it means to be ‘American’ is being hotly contested, it’s more important than ever for us to represent values of pluralism in our casting.” But the main force driving the great beauty shake-up is the rise of a generation of millennials who take these and other progressive “isms” for granted, and who, rejecting the divisive rhetoric in the current political discourse, are resolutely shaping the Zeitgeist to suit their inclusive spirit. Kors acknowledges the influence of urbanism, McCartney that of feminism. Numerous factors have converged to produce this moment. Now women inhabiting a borderless, decentralized world are liberated to be themselves, and the options are limitless. As Elizabeth Wilson observes in her 1985 study Adorned in Dreams: Fashion and Modernity, this was a postmodern turn, reflecting a splintered, nuclear-armed world as she puts it, “for the individual to lay claim to a particular style” served as proof, amid an atmosphere of uncertainty, that the singular individual herself “does at least exist.” Back then, women were liberated to choose for themselves from a dazzling array of fashion options. In terms of the way fashion operates, this shift toward variety marks as profound a transformation as when, half a century ago, the silhouette dictates from Paris ceded sway to the style news breaking on the street. When we cast, we’re after interesting individuals that our customers can see themselves in.” “For so long, women have been asked to look a certain way in order to feel attractive. “We work for women, to dress women, and our casting has to reflect that,” McCartney says.
She’s worked with Olympic athletes, musicians, and models from all over the world-many distinctive women, each with her own look and sensibility, every one celebrated by McCartney for her uniqueness. Like Kors’s approach to casting, hers goes beyond attending to “diversity”-a notion that implies there’s an inner circle of acceptable beauty that token outsiders are permitted into-and instead rejoices in multiplicity.
Stella McCartney, hailing from the gloriously polyglot city of London, has a similar view.
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It points to the United States’ identity as a nation of immigrants and its core value, established in the Constitution, of free expression for all. From his position as the standard-bearer for all-American sportswear, Kors notes that his embrace of heterogeneity has a political subtext, too.
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