http://quadrant.org.au/magazine/2018/09/fashion-industry-pretty-looks/
Double standards are far more consistent than hemlines in an industry which recently saw Teen Vogue, published by the decidedly capitalist Condé Nast, honour the anniversary of Karl Marx’s birth with a gushing article describing how he exposed the evils of, yes, capitalism.
Contra la moda toda lucha es inútil.
—Josep Pla
Fashion: A despot whom the wise ridicule and obey.
—Ambrose Bierce
The haute couture is a degenerate institution propped up by a sycophantic press.
—Kennedy Fraser
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fashionWhat most of us immediately associate with the word fashion is its ephemeral nature, likewise its capacity to generate irrational attachment. The most familiar object of such an attachment is clothes, anything from haute couture to jeans with holes scratched out at the knees, where the banal nature of the product is disguised (or in fact celebrated) by brand marketing. Moreover the emetic cult of catwalk celebrity and the narcissistic economy of fashion design would collapse if the majority, at any rate the majority of women, became so contented with last year’s fashion that they just decided to keep their closets unreformed. “The fashion industry is loath to see many days go by,” wrote Kennedy Fraser in The Fashionable Mind (1981), “without trumpeting new eras, and whenever a style emerges, or reappears after an absence, it hurries to coin a title before shoppers can rummage sinfully in closets.” “Fashion,” remarked the Queen of Romania dourly, “exists for women with no taste, just as etiquette is for people with no breeding.”
Happily for the industry, the particular nature of what has been tweaked to make a new frock is less important than the necessity of its purchasers to be, and be seen to be, up with the latest fashion. To quote Fraser again:
If, for many women, the choice of clothes is an anxious, irrational affair, it is made doubly so by our craving to be fashionable. The vagaries of fashion are a denial of constant aesthetic standards, objective ideas of grace or flattery, and the fact that women’s bodies remain much the same from one season to the next.
Dressing in fashion is therefore a matter of status as much as aesthetics, part of what Thorstein Veblen described as “conspicuous consumption”, now expanded to tempt those on lesser incomes with what the drugs industry calls “generic” versions of the stuff paraded before the fakes, cynics, psychopaths and allegedly creative geniuses at the annual fashion shows.
In Theory of the Leisure Class (1899) Veblen explained that, after the second industrial revolution, the emergent nouveaux riches established their social status through patterns of consumption, a conscious attempt to distance themselves from the less well-off and advertise their position in “the leisure class”. An unashamed contemporary demonstration of this phenomenon is afforded by a weekend supplement of the Financial Times stuffed with advertorial matter and the glossiest of glossy pictures, which emphasises the nature of the readership it aims at through its title, How to Spend It. Its critics have dubbed it the “Argos catalogue for the 1 per cent” (Argos being a downmarket mail order business), and it specialises in ludicrous and ludicrously priced goods for the über-rich, especially alpha males (a Rolex Steve McQueen Explorer II watch at £20,000, which is ridiculously cheap when you could instead buy a Franck Muller Aeternitas Mega watch for £2 million; or how about a Maybach Exelero car at £6 million or a Learjet at the giveaway price of £550,000?). Two things are notable about this supplement: first, the rest of the FT is emphatically liberal, even leftist, in its editorials, comment and news coverage. Second, the magazine is by far the most profitable part of the paper and indeed the editor apparently lamented recently that they hadn’t invented another money-spinner like How to Spend It.