The Met Gala: A Stage for Black Dandyism’s Grand Performance

The Met Gala, with its themes celebrating fashion history, uniquely provides a stage for Black Dandyism. It’s an unparalleled opportunity to showcase the evolution of this movement and its ongoing relevance. For years, Black artists and designers have used the Gala to reclaim their narratives and redefine what it means to be fashionable. The event is not just about wearing expensive clothes; it’s about telling a story through sartorial choices.

Colman Domingo and the Resurgence of Refined Rebellion on the Red Carpet

Colman Domingo’s red carpet appearances often blend classic tailoring with unexpected details. While designers haven’t always explicitly stated “Black Dandyism” as the inspiration, the spirit of the movement – challenging norms, celebrating individuality, and commanding attention – is undeniably present.

Credit: Getty

Arriving with fellow co-chairs Lewis Hamilton and Vogue editor-in-chief Anna Wintour, Colman Domingo dropped jaws wearing a Valentino cape piece that mimicked the cape of a church choir. The look was paired with a stunning earpiece and a press plate neck piece.

Credit: Getty

His second look, a Valentino three- piece suit, revealed a playfulness of textures, patterns and colouring along with his shirt, tie and brooch. His look paid homage to late American journalist André Leon Talley, who was a representation of the American Dandy and who wore a similar blue cape to the 2011 Met Gala. 

ASAP Rocky and Lewis Hamilton: Modern Black Dandyism Fashion Disruptors

ASAP Rocky and Lewis Hamilton are also the co-chairs who champion this aesthetic. Rocky’s eclectic style, often incorporating vintage pieces and streetwear elements, reflects the multifaceted nature of modern Black Dandyism. He mixes high fashion with streetwear.

Rocky stepped out in a custom style from his agency AWGE, in true Fashion Killa style. He wore a double-breasted AWGE parka in technical wool, with coated snaps and Velcro detailing on the sleeves.  His hair had been braided intricately, and he accessorised his look with an umbrella. His jacket was inspired by the Marmot outerwear that Rocky saw people wear while growing up in his native Harlem. The jackets represented a modern-day dandy to him, and his outfit paid homage to that.

Credit: Getty

“Black is Back”, says ASAP Rocky. 

 Hamilton showed up and showed out, using his platform to promote emerging Black designers and showcase bold, statement-making looks that challenge traditional menswear norms. His intentional collaborations with designers are acts of support that are crucial for the diversification of the fashion industry.

The F1 star wore a custom ivory-coloured Grace Wales Bonner suit, matching beret with gold accents, and a diamond brooch by New York jeweller Briony Raymond. Every detail of his look, down to the satin stripe of his pants, was mindfully crafted to pay homage to the black culture through the power of adornment. The ivory colour represents the designer’s spirituality, the brooch blooming represents the opening and receiving of black culture, and the white on white is an ode to late American painter Barkley L. Hendricks. 

Credit: Michael Buckner/Penske Media via Getty Images

“Inspired by Harlem Renaissance”, says Lewis Hamilton.

Alton Mason’s Met Gala Look: A Masterclass in Contemporary Black Dandyism

Alton Mason consistently delivers memorable Met Gala looks. He embodies the spirit of Dandyism with his bold and confident style.

“Afro futurism”, says Alton Mason

Wearing custom Boss, he did a grand reveal on the carpet, showcasing a two-piece silver suit, tailored with an open heart at the front, inspired by his favourite anime character, Giorno Giovanna (Jojo). He wore a structured black cape on top, which had around ten shoulder pads, and a black Panama hat. 

Mason’s look showcased a masterful blend of classic elegance and modern flair, paying homage to the 90s music scene with a diamond eye patch while incorporating elements of Black culture and self-expression.

Black Dandyism: A Historical Foundation for Sartorial Rebellion

Before we dive into the dazzling displays at the Met Gala, let’s ground ourselves in the history of Black Dandyism. It’s more than just wearing fancy clothes; it’s a statement. Born in the late 18th and early 19th centuries, Black Dandyism was a radical act during times of intense oppression. Enslaved Africans and, later, free Black men and women used clothing to assert their identity, dignity, and humanity in a world that denied them both. Think perfectly tailored suits, vibrant colours, and meticulous attention to detail – a visible declaration of self-worth.

Figures like William Brown, a formerly enslaved man who became a successful businessman in 19th-century London, embodied this spirit. His impeccable style challenged racist stereotypes and demonstrated Black excellence. This tradition continued through the Harlem Renaissance and beyond, with figures like Zora Neale Hurston, who embraced bold patterns and individual style. These were all powerful declarations of self-determination through fashion.

Black Excellence in Fashion: How the Met Gala Celebrates Black Dandyism

The Met Gala’s inclusion of Black designers and the celebration of Black aesthetics are steps in the right direction. Seeing more Black stylists, makeup artists, and hairstylists working with attendees is also crucial. This holistic approach ensures that the stories being told on the red carpet are authentic and nuanced. However, there’s still work to be done. The fashion industry needs to continue amplifying Black voices and providing opportunities for Black creatives. It’s a collective responsibility to ensure that Black creatives are not just included, but also celebrated and supported.

Black Dandyism’s Enduring Impact: Inspiring Future Generations of Fashion at the Met Gala

The legacy of Black Dandyism extends far beyond the Met Gala. It influences contemporary fashion trends, encourages individuality, and provides inspiration for future generations. The movement’s emphasis on self-expression, creativity, and cultural pride resonates with young people searching for ways to define their identities. Seeing figures like Domingo, Rocky, Hamilton, and Mason confidently embrace their style encourages others to do the same.

The Met Gala is a powerful platform, and when used to celebrate Black Dandyism, it becomes a catalyst for change. It’s a reminder that fashion is more than just clothing; it’s a form of resistance, a celebration of culture, and a powerful tool for self-expression. The Gala’s celebration of Black Dandyism’s enduring legacy inspires, challenges, and shapes the fashion of today and the future. And that’s something worth celebrating.

Get ready, fashion lovers! The Met Gala 2025 is shaping up to be an unforgettable night. The theme? “Superfine Tailoring & Black Style.” Forget fleeting trends; this is about celebrating artistry, heritage, and the powerful statements that clothing can make. We’re talking meticulously crafted garments, a deep dive into Black dandyism, and a red carpet brimming with stars ready to express themselves. Expect iconic looks and conversations that go far beyond what people wear.

The Costume Institute exhibit promises to be a visual feast. Think of it as a love letter to Black communities’ sartorial excellence and cultural influence. Get ready to explore how Black style has shaped and continues to shape global fashion trends.

Defining “Superfine Tailoring” and Its Met Gala Significance

So, what exactly is “superfine tailoring“? It’s more than just a well-fitting suit. It’s the art of creating garments with incredible precision, using the finest materials, and paying obsessive attention to every detail. Think hand-stitched seams, perfectly balanced proportions, and fabrics that drape like a dream.

Its Met Gala significance lies in acknowledging the often-overlooked contributions of Black designers and tailors to this craft. This is a chance to showcase the skill and artistry that have been a part of Black communities for generations. Imagine the intricate beadwork of a custom-made gown or the sharp, clean lines of a bespoke suit – all highlighting the dedication to quality and craft. For example, the exhibit might feature the work of contemporary Black designers pushing the boundaries of tailoring, using techniques like pattern manipulation or incorporating traditional African textiles into modern silhouettes. This kind of exposure puts a spotlight on talents that deserve wider recognition.

The Black Dandy: Defining an Aesthetic of Resistance and Refinement

So, what exactly is a Black Dandy? It’s more than just wearing fancy clothes. It’s about taking ownership of one’s image, crafting a personal style that blends sophistication, historical awareness, and a defiant spirit. Think tailored suits with unexpected pops of colour, vintage accessories with a modern twist, and an overall air of unapologetic elegance. The Black Dandy uses fashion as a form of self-expression, resistance, and cultural commentary.

From the Streets to High Society: The Historical Evolution of Black Dandyism

The roots of this style can be traced back to 19th-century Europe, where figures like Ignatius Sancho, an abolitionist writer and composer in London, defied racial stereotypes with his refined manners and attire. During the Harlem Renaissance, figures like Langston Hughes and Zora Neale Hurston embraced a vibrant cultural identity that included sartorial excellence. The Zoot Suit Riots of the 1940s serve as a stark example of how Black style, deemed “unpatriotic” during wartime, was often met with violence and suppression.

This tradition continued through jazz musicians who used sharp dressing as a way to command respect and reclaim agency, and continues today. Contemporary scholars like Shantrelle P. Lewis, author of “Dandy Lion: Black Dandyism and Street Style,” have brought renewed attention to the movement’s history and significance.

The Enduring Legacy of Black Dandyism and Its 2025 Met Gala Interpretation

Black dandyism, a movement that dates back centuries, is a vital part of this theme. It’s about self-expression, resilience, and reclaiming narratives through impeccably tailored clothing. In an era when societal norms often tried to diminish Black individuals, dandyism became a powerful way to assert identity, dignity, and style.

The Met Gala interpretation promises to be fascinating. Expect nods to historical figures who epitomised the movement, like William Dorsey Swann, who in the 1880s was America’s first self-proclaimed drag queen and often wore elaborate outfits. The exhibit will show how this historical context continues to inspire contemporary Black style. Think bold colour combinations, unexpected fabric choices, and accessories that tell a story. We can expect to see homages to iconic looks and modern interpretations celebrating individuality and Black joy.

A League of Their Own: ASAP Rocky, Colman Domingo, Lewis Hamilton & Pharrell Williams Red Carpet Moments

When it comes to pushing boundaries and making a statement on the red carpet, ASAP Rocky, Colman Domingo, Lewis Hamilton, and Pharrell Williams consistently deliver.

• ASAP Rocky

Rocky’s experimental approach to fashion often blends high-end tailoring with streetwear influences. Remember his 2021 Met Gala look with Rihanna? Expect something equally unexpected.

• Colman Domingo

Domingo’s recent style evolution has been nothing short of captivating. He embraces bold colours, unique textures, and perfectly tailored pieces that exude confidence and sophistication.

• Lewis Hamilton

Hamilton is known for using his Met Gala appearances to champion emerging Black designers. His commitment to inclusivity and his eye for sharp tailoring make him a red carpet force.

• Pharrell Williams

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A true style icon, Pharrell’s influence on fashion spans decades. He seamlessly blends streetwear, luxury, and avant-garde elements, always staying true to his unique vision.

These men, among others, will be key figures in bringing the theme to life on the red carpet, showcasing how “superfine tailoring” and Black style can be both a personal expression and a powerful cultural statement.

Designers to Watch: Shaping the Future of Black Style and Tailoring at the Met Gala

While the theme celebrates established icons, it also opens doors for emerging Black designers to shine. Keep an eye out for:

• Theophilio: Known for his vibrant, Caribbean-inspired designs and impeccable tailoring.
• Wales Bonner: Grace Wales Bonner blends European and African influences to create sophisticated and thought-provoking collections.
• Pyer Moss: Kerby Jean-Raymond’s Pyer Moss uses fashion to explore themes of Black identity and social justice.

These designers, and others like them, are not just creating clothes; they are crafting narratives and challenging the status quo. The Met Gala 2025 will provide them with an unparalleled platform to showcase their talent and vision to a global audience. Their innovative designs and fresh perspectives are shaping the future of Black style and tailoring, inspiring hope and excitement for what’s to come in the fashion industry.

A Met Gala theme celebrating Black Dandyism could have a lasting impact. It would not only elevate Black designers and artists but also encourage a more inclusive and diverse understanding of fashion history. We might see:

• More Black designers featured on the red carpet: Designers like Telfar Clemens, Virgil Abloh (posthumously celebrated), and Kerby Jean-Raymond (formerly of Pyer Moss) could inspire many attendees.
• A wider range of interpretations: Beyond traditional suiting, expect to see creative explorations of texture, colour, and silhouette.
• Increased representation: More Black stylists, makeup artists, and hairstylists working behind the scenes.

Brands known for embracing individuality and pushing boundaries, such as Gucci, Comme des Garçons, and even streetwear giants like Off-White, are also likely to contribute exciting interpretations.

Beyond the Garment: Daring Statements and Cultural Commentary Through Fashion

The Met Gala is never just about the clothes. It’s a stage for making statements, sparking conversations, and challenging perceptions. In the context of “Superfine Tailoring & Black Style,” expect to see designs that address issues of representation, cultural appropriation, and the ongoing fight for equality.

We might see garments that incorporate historical references, paying tribute to unsung heroes of the Black community. Or perhaps we’ll see designers using their platform to amplify important social messages. Fashion has always been a powerful tool for communication, and this Met Gala has the potential to be a particularly impactful one.

The Future of Fashion: Will Superfine Tailoring and Black Style Continue to Reign at the Met Gala?

The Met Gala 2025 offers a pivotal moment to acknowledge and celebrate the profound impact of Black style and tailoring on the global fashion scene. But what happens after the red carpet is rolled up and the exhibit closes? Will this theme leave a lasting legacy?

Hopefully, it will encourage greater inclusivity and representation within the fashion industry. By highlighting the contributions of Black designers and the enduring influence of Black dandyism, the Met Gala has the potential to inspire a new generation of talent and to foster a more equitable and diverse fashion world. Furthermore, the Met Gala’s choice of this theme can encourage a deeper appreciation for craftsmanship and quality. As consumers become more conscious of the environmental and social impact of their clothing choices, a focus on “superfine tailoring” could promote a shift towards more sustainable and ethical fashion practices. Only time will tell, but the spotlight is most definitely on Black excellence and exquisite tailoring.

The Met Gala 2025 is poised to be more than just a glamorous event. It’s a celebration of artistry, a cultural statement, and a potential catalyst for change within the fashion industry. Get ready for a night of unforgettable looks and conversations that will resonate long after the last celebrity departs.

The Row, known for its “quiet luxury,” made a daring request to attendees that they do not take pictures or films during the show, sending shockwaves across the fashion industry and defying the usual social media frenzy. A lifestyle that values understated elegance and quality over conspicuous shows of wealth is known as quiet luxury. It’s meant for people who value discernment and exclusivity without the garish displays of money or too boastful rhetoric. Quiet luxury prioritises well-made, long-lasting things over fashionable and fast-fashion ones. Discrete luxury is about understanding what’s well-made and prioritising quality over quantity, not just about pricey names.

Fans and guests were left in a state of mild amazement when Vanessa Friedman, the chief fashion critic and fashion director of The New York Times, spilled the beans on The Row’s unorthodox request. “The Row looks forward to having you… We kindly ask that you refrain from capturing or sharing any content during your experience,” the statement said. Let’s hear everyone scream in dismay at once. The reason for this is that The Row isn’t just any luxury brand; rather, it’s the pinnacle of subtle elegance, where money speaks louder than words.

This brand, whose T-shirts cost an amazing $550, is unmatched in its mastery of exclusivity. The Row has also mastered the art of hidden affluence by restricting who can purchase their clothes as well as who can even see them. Of course, there are benefits to taking pictures and filming at fashion events. It captures the flow of clothing in motion and assists editors and buyers in selecting which items to shoot and stock. According to the audience, it’s also about showing off on Instagram. Getting invited to a fashion show such as The Row’s is a huge deal, and who wouldn’t want to share it with the world?

This is the reason, that this kind of exclusivity can bind and keep fashion enthusiasts thrilled to attend the showcase and the brand’s specific target market. So, next time you’re tempted to snap away at a fashion show, remember The Row’s quiet rebellion. Because in a world where everyone’s shouting for attention, sometimes it’s the silence that speaks the loudest.

Fusion of Art and Fashion: A Collage of Realness

Jonathan Anderson’s collaboration with Richard Hawkins, a professor of painting and drawing at the University of California, is a brilliant fusion of art and fashion. Hawkins’ multi-layered paintings, influenced by pop culture, Greek and Roman statuary, and contemporary celebrity culture, served as the foundation for the audacious Loewe collection. The show itself unfolded as an exploration of Hawkins’ fixations, with digital screens resembling stained-glass windows showcasing Loewe’s celebrity ambassadors like Jamie Dornan.

Anderson’s approach of “collaged realness” is evident throughout the collection, deconstructing traditional silhouettes and challenging the conventional boundaries of masculinity. The garments, including scaled leather coats and beaded trousers, are imbued with a sense of kitschiness, offering a playful celebration of kink while maintaining sophistication.

Constructing a Narrative: Garments That Tell a Story

The collection is a testament to Anderson’s prowess in garment construction. Scaled leather coats, spray-painted moments before the show, beaded trousers, and bags adorned with Hawkins’ artwork demonstrate a commitment to pushing the boundaries of traditional fashion. The ‘one-piece’ look signifies Anderson’s understanding of the fluidity in modern masculinity, where definitions are no longer rigid. In a nod to the concept of ‘collaged realness,’ models strutted down the runway in leather cargo pants, baseball sneakers, and checkered shirts, offering a playful take on the irreverence of youth. The visual trick of trousers attached to socks and shoes reflects Anderson’s commentary on modern life as a continuous collage of algorithmic images shaping our perception. Figure 2.

Accessories: Elevating the Ensemble

The collection extends beyond clothing to include a diverse range of accessories. The fusion of high-end fashion with elements of streetwear, such as skater sneakers, boots and, tote bags adorned with glass bead artworks add a luxurious touch to the ensemble, showcasing Loewe’s evolution towards fashion’s forefront. Figure 3.

Venue and Installation: A Cathedral to Masculinity

The show’s venue serves as a conceptual backdrop—a strange cathedral to masculinity. ‘Stained-glass window’ screens, displayed self-portraits of Loewe’s male ambassadors and friends, creating an immersive experience. The juxtaposition of Hawkins’ collages capturing Roman statuary, French decadence, and contemporary celebrity culture sets the stage for a visual spectacle. The series of Hawkins paintings at the runway’s end, labelled the ‘altar’ by Anderson, reinforces the seamless integration of art and fashion. Figure 4.

A Star-Studded Affair: Celebrities Front and Centre

The front row of the show was a star-studded affair, with a multitude of handsome actors, including Jamie Dornan, Andrew Garfield, Nicholas Hoult, Zayn Malik, and Kit Connor. Celebrity ambassadors like Josh O’Connor, Taeyong, Manu Rios and Omar Apollo contributed to video collages, adding a personal touch to the narrative of the show. Anderson’s decision to incorporate selfies from actors like Jamie Dornan emphasized the integration of social media and celebrity culture into the collection’s narrative. Figure 5.

Voices of the Visionaries: Jonathan Anderson and Richard Hawkins Speak

Anderson’s creative vision for the FW24 collection reflects a keen observation of modern life as a “collage of media.” The show’s narrative, influenced by social media feeds, paparazzi shots, and celebrity culture, mirrors the levelling-off of contemporary culture. Anderson’s exploration of the “algorithm of masculinity” speaks to the ubiquity of visual information and its impact on our perceptions.

In Anderson’s words, “It’s 360 degrees—you can’t get away from media.” The trickery employed in the collection, such as trousers attached to socks and jackets fused with trousers, underscores his desire to reinterpret norms and have fun with fashion.

Hawkins, the artistic force behind the collection, reflects on over three decades of fascination with the male body and mythologies. “The altar at the end of the runway symbolizes the culmination of my fixations,” says Hawkins, emphasizing the connection between his artworks and the visual narrative presented by Loewe.

Conclusion: Loewe FW24 – A Bold Statement in Contemporary Fashion

The Loewe Fall/Winter 2024 men’s collection emerges as a bold statement in contemporary fashion, pushing the boundaries of conventional menswear. The collaboration brings forth a collection that celebrates individuality, challenges norms, and seamlessly blends art and fashion. From the intricate detailing of garments to the immersive venue design, every element of the show contributes to the narrative of a dynamic and evolving masculinity. As the fashion world continues to embrace diversity and creativity, Loewe stands at the forefront, showcasing the artistry that can be achieved through the fusion of pop culture and high fashion.

Reference

1. Sim, J. (2024). Watch the Loewe men’s fall/winter 2024 show here. [online] Vogue Singapore. Available at: https://vogue.sg/loewe-mens-fall-winter-2024-show/ [Accessed 22 Jan. 2024].
2. Socha, M. (2024). Loewe Men’s Fall 2024. [online] WWD. Available at: https://wwd.com/runway/mens-fall-2024/paris/loewe/review/ [Accessed 22 Jan. 2024].
3. updated, J.M. last (2024). Paris Fashion Week Men’s A/W 2024: Loewe to Hermès. [online] wallpaper.com. Available at: https://www.wallpaper.com/fashion-beauty/paris-fashion-week-mens-aw-2024-best-of [Accessed 22 Jan. 2024].
4. Hypebeast. (2024). Jonathan Anderson Finds a New Algorithm for Masculinity With LOEWE FW24. [online] Available at: https://hypebeast.com/2024/1/loewe-jonathan-anderson-fall-winter-2024-paris-fashion-week-menswear-runway [Accessed 22 Jan. 2024].
5. MOWER, S. ed., (2024). Loewe FALL 2024 MENSWEAR. [online] VOGUE RUNWAY. Available at: https://www.vogue.com/fashion-shows/fall-2024-menswear/loewe [Accessed 21 Jan. 2024].

Images/Photographs

1. Sim, J. (2024). Watch the Loewe men’s fall/winter 2024 show here. [online] Vogue Singapore. Available at: https://vogue.sg/loewe-mens-fall-winter-2024-show/.
2. Christian, (2024). Loewe Fall/Winter 2024 – Paris Fashion Week Men’s – fashionotography. [online] Available at: https://www.fashionotography.com/loewe-fall-2024-paris-fashion-week-mens/ [Accessed 24 Jan. 2024].
3. Moss, Jack (2024). Paris Fashion Week Men’s A/W 2024: Loewe to Hermès. [online] wallpaper.com. Available at: https://www.wallpaper.com/fashion-beauty/paris-fashion-week-mens-aw-2024-best-of.
4. kuwmanurios (2024). Manu Ríos becomes part of the Loewe FW24 backdrop at fashion week . Available at: https://twitter.com/kuwmanurios/status/1748699892304794041 [Accessed 22 Jan. 2024].
5. com. (2024). LOEWE. [online] Available at: https://www.instagram.com/loewe/.
6. Rooprai, R. (2024). Loewe. [online] The Impression. Available at: https://theimpression.com/loewe-fall-2024-mens-fashion-show-backstage/ [Accessed 22 Jan. 2024].

Curated by Hamish Bowles and designed by Patrick Kinmonth and the architect Rooshad Shroff, the exhibition highlights the influence of India’s rich cultural heritage, textile and craft on global fashion over the last 200 years. Heritage is key for luxury, and brands are now optimising their heritage as a means to highlight brand ethos and provoke a sense of brand attachment. Featuring over 150 exhibits from 14 museums, 6 Indian cities, 10 international cities and 7 countries, the exhibition is a glamourous showcase of Indian themed creations by international designers. Whether it be Chanel’s brocade coat or Phulkari heels by Christian Louboutin, or a re-imagined saree by Yves Saint Laurent, it highlights India’s strong influence on western fashion. The exhibits detail the fabric, type, explain the illustration and also specify the date of first such work. These are largely loaned either from private collections of individuals or from museums such as New York’s Metropolitan Museum of Art and Toronto’s Royal Ontario Museum. With the exhibition divided into several zones, it highlights Indian Silks and embroideries colliding with western tailoring in the 1830s, infusion with Italian fashion, with exhibits titled ‘Gathered in a Mughal Garden’, “The Hippie Trail”, “The Long Shadow of Muslin”, “The Journey of the Sari”, “The Great Exhibition London 1851” and so on. Not only are works of international designers showcased, iconic creations by Indian designers adorn sections of corridors gleaming with intricate detail and embroidery. These include works of Manish Malhotra, Sabyasachi Mukherjee, Anuradha Vakil and others. A walk through this exhibition has one realise the impact and value of Indian heritage and tradition, one which is still much sought after by reputed international brands constantly seeking Indian artisans and their work to adorn the brand’s haute couture. 

As one of the two significant power-houses corporatizing Indian Fashion, Reliance Brands Limited (RBL) has, in the last few years, entered strategic partnerships with luxury home-grown designers such as Manish Malhotra, Anamika Khanna, Raghuvendra Rathore, Ritu Kumar, Rahul Mishra to name a few. It has also brought several international brands to India including Valentino, Balenciaga, Tiffany & Co. to cater Indian consumption choices which have over the years undergone international exposure. Reliance has also highlighted India’s artisanal products including handloom, clothing, textiles and handicrafts through ‘Swadesh’, artisan centric stores under the Reliance Foundation. These stores are selling the finest handicrafts ‘Handmade in India’ at the NMACC, showcasing Patola weaves to Venkatagiri, Tanjore Paintings, Blue pottery and much more. Indian handicrafts and handloom are considered the backbone of Indian rural economy since decades. Exports of handicrafts has seen a tremendous growth in the last decade – from USD 3.7 million in 2011 to USD 4.35 billion in 2022 indicating a global increase of demand for Indian handicrafts. The wave of sustainability has further shone light on handicrafts across the world. Aimed at bringing best of the world to India, and best of India to the world, the NMACC through its several initiatives is taking Indian fashion on a global platform. 

Legal Considerations

While the exhibition focuses on the cultural and artistic aspects of fashion, there are legal considerations involved in such events. Intellectual Property Rights (IPR) are a crucial legal aspect in the fashion industry. Designers need to ensure that they have obtained the necessary permissions and licenses to use Indian textiles, patterns, and motifs in their designs – particularly, in the context of Geographical Indication protections. Also, designers must respect the copyright, and trademarks associated with items intrinsic to India’s cultural heritage. Additionally, the exhibition curators need to obtain licenses and permissions from museums, private collectors, and designers to display their works.

Moreover, the exhibition involves collaborations between Indian designers and international brands, highlighting the importance of contracts and agreements in the fashion industry. Strategic partnerships between Reliance Brands and luxury home-grown designers require well-drafted contracts that define the rights and obligations of each party. These agreements may cover aspects such as intellectual property ownership, exclusivity, royalties, and distribution rights. Furthermore, the exhibition’s organizers must comply with legal requirements related to event management, including permits, licenses, and safety regulations. They need to ensure that the exhibition space meets fire safety standards, accessibility requirements, and any other local regulations governing public exhibitions.

In conclusion, while the ‘India in Fashion’ exhibition primarily celebrates the artistic and cultural aspects of Indian fashion, several legal considerations come into play. Intellectual property rights, protection of traditional crafts, contracts and agreements, and event management regulations are essential factors to be addressed to ensure a successful and legally compliant exhibition. By upholding these legal aspects, the exhibition contributes to the promotion and preservation of Indian fashion heritage while respecting the rights of designers, artisans, and the larger fashion community.

Authors:

Radha Khera, Managing Associate at Remfry & Sagar

Anuj Kumar, Founder & Editor-in-Chief, Fashion Law Journal

]]> https://fashionlawjournal.com/india-welcomes-diors-moment-mumbai-becomes-the-gateway-to-diors-historic-pre-fall-2023-show/ Fri, 31 Mar 2023 10:29:30 +0000 https://fashionlawjournal.com/?p=6678 Last night was no ordinary day for the fashion community in India, as Mumbai was woven into a historic moment with the French haute couture brand Dior. The Pre-Fall 2023 show took place at the symbolic Gateway of India overlooking the Arabian Sea. Maria Grazia Chiuri, the brand’s artistic director of women’s collections, started a new discussion through this collection, showcasing colors, techniques, silhouettes, and styles that resonated with the country’s culture, shedding light on Maria Grazia’s affection and appreciation for India. The collection was a collaboration between Dior and Karishma Swali, the director of the Chanakya Atelier and the Chanakya School of Crafts in Mumbai. Chiuri and Karishma, who have known each other for 25 years, wanted to focus on how textile and embroidery can be the driving forces of fashion.

The presentation, which featured 99 different styles, was special since many of the looks were developed with regard to the color scheme, motifs, mirror work, sequins, and crafts.

Among the carefully curated list of models were 43 international models, 33 Indian models with international backgrounds, and 23 Indian models.

The French luxury fashion house has become known for its interesting show venues in the past few years, such as the men’s pre-fall exhibition that lit up the Pyramids of Giza in December and the Harrods facade takeover during the previous holiday season in London.

The 46-foot “Toran,” a site-specific artwork below the Gateway itself, was created through a partnership between the Chanakya Ateliers and Chanakya School of Craft, artistically expanding on the idea of a new doorway. Indian women have been making torans for ages as a way to decorate regional fabric with embroidery and patchwork to welcome guests into their homes.

The toran was created by female craftspeople from the Chanakya School of Craft and master craftspeople from the Chanakya Atelier. Each group used its own design language and selected which lucky symbols to include in the toran. To produce this project, they collaborated for several months, put in 35,000 hours of manual labor, and used 25 different craft techniques, including phulkari, mirror work, french knotting, and kantha, among others. The stunning Toran is decorated with elephants, mandalas, lotuses, kamadhenu, tigers, and peacocks to welcome visitors and invite them to explore India’s rich cultural heritage.

The Mumbai exhibition brought the city and the Indian market the credit that had been long overdue. The craft and needlework supplemented the easy, casual silhouettes that Chiuri preferred in the collection. Additionally, it has been 60 years since Dior models visited Bombay for the brand’s joint Air-India and spring/summer 1962 couture presentation. When Marc Bohan was designing Dior in Bombay in April 1962, the Time and Talents Club, Femina, and the Alliance Française supported it.

Chiuri drew inspiration from those documents, and this show incorporated various aspects of her own life, such as her love of peplums and the way the cloth is draped over the body before knotting at the waist. Together with tigers, elephants, and peacocks, the runway included Madras check and block printing.

Chiuri also talked about recognizing the high levels of quality available across the globe. Not only are Milan and Paris the home of couture, but particular businesses with a couture-level heritage can be found in various nations, such as Chanakya, a couture brand. This needs to be accepted, and changes should be made accordingly.

Some other notable attendees at the show included business magnate Mukesh Ambani and his wife Nita Ambani, who have been known to be avid supporters of the arts and fashion.

Overall, the Dior Pre-Fall 2023 show in Mumbai was a historic moment for the Indian fashion community. The collaboration between Dior and the Chanakya Atelier showcased the rich cultural heritage of India through the use of traditional textiles and embroidery techniques, while also incorporating Dior’s signature style and aesthetic. The show’s location at the Gateway of India, overlooking the Arabian Sea, added to the grandeur of the event and further cemented Mumbai’s position as a rising hub for luxury fashion.

While the show was a major success, it also highlighted the need for greater recognition of Indian artisans and craftspeople in the global fashion industry. As Maria Grazia Chiuri noted in her interview with WWD, there are many couture-level businesses across the world, including in India, that need to be acknowledged and given more opportunities to showcase their talents.

Overall, the Dior Pre-Fall 2023 show was a celebration of India’s rich cultural heritage and the global impact of fashion. It brought together fashion influencers, celebrities, and industry leaders from around the world to showcase the best of what India has to offer.

References:

1.https://wwd.com/fashion-news/designer-luxury/dior-displays-art-of-india-in-mumbai-show-pre-fall-1235599954/

2.https://www.cnbctv18.com/lifestyle/dior-2023-pre-fall-collection-to-be-presented-at-gateway-of-india-in-mumbai-with-local-collaboration-16302981.html

3. https://wwd.com/fashion-news/designer-luxury/mumbai-ready-to-embroider-itself-into-historic-moment-with-christian-dior-strong-1235598055/

]]> https://fashionlawjournal.com/the-future-of-fashion-week-and-the-modelling-industry-2/ Mon, 23 Jan 2023 11:25:28 +0000 https://fashionlawjournal.com/?p=6465 Fashion week is to industry professionals and fashion enthusiasts what World Cup is to football fans all over. One quick scroll on Instagram and you can understand the frenzy and the massive work that goes into a fashion week season after season. Fashion weeks generate press around collections by different designers throughout the year and reach consumers through various channels.

The late designer Karl Lagerfeld took things up a notch by making some of the most immersive and transformative experiences throughout his tenure at Chanel. Kaiser Karl managed to transform the Grand Palais in Paris into a supermarket to present his autumn/winter collection in 2014. Among his other larger-than-life executions include a giant carousel, a 265-tonne real iceberg from Scandinavia, the concept of Chanel airlines, and the Fendi show which cost over 10 million dollars and took over the Great Wall of China.¹ In recent times, one such show that caught the attention of anybody with access to social media was the Coperni show in Paris where a white dress was sprayed live onto the body of famous model Bella Hadid. As per WWD, the media impact value of the event was estimated to be 26 million dollars out of which 80% was attributed to social media.²

Though successful at generating publicity, events like these have also been criticized for being “merely theatrical gimmicks” rather than “artistic”.

However, things seem to have changed when the pandemic first hit, and physical fashion shows seemed like a distant dream. Designers and brands were left with no choice but to adapt to the times and find newer ways to reach their audience. Brands turned to streaming shows without an audience, photos, or sending curated innovative boxes. This time also gave insiders time to reckon and conversations around sustainability and changing the system grew louder. New York-based designer, Dries van Noten asked industry members to reconsider the concept of seasonality. One major blessing that hadn’t been harbored to its power was that of digitalization and the impact it makes in terms of sustainability, reach, and cost-effectiveness. Luxury brands like Gucci dabbled in the virtual world by partnering with Roblox to create immersive experiences for their customers.

While acknowledging the boon that social media and digitalization have been, the effect it has had on human jobs is less clear-cut. Fashion weeks generate a lot of jobs such as street style photographers, set designers, businesses for local hotels, and so on. Since the digitalization era is only in its nascent stage, the future of these jobs and businesses stays unclear but very much relevant in today’s times. The brands that have really come out of the pandemic choosing to revolutionize the concept are: Balmain coming up with models on a boat along the river Seine making it refreshing and democratic, Jacquemus creating a show in wheat/lavender fields and Demna Gvaslia creating a red carpet and the Simpsons theatrical experience for his guests. These designers have managed to create one-of-a-kind immersive and unforgettable experiences for their audiences.

As with the recent shows and the Coperni experience, it’s evident that brands still heavily rely on the traditional ways of doing fashion weeks though there will be changes such smaller number of guests and newer locations as with the latest Chanel show in Senegal.⁴ However, it can be said that smaller upcoming younger designers might break away from tradition and turn to digital means connecting with their consumers directly through social media and not seeking validation from older institutions. The major brands will continue with the format of grand shows. What remains relevant and most important is that fashion weeks are an integral part of the cycle and will continue to create fantasy and sell dreams like they always have.

Much like fashion weeks, the modelling space is an ever-growing and integral part of the fashion industry. Models became a cultural phenomenon in the 90s rising to the cult status of supermodels and gaining credibility as celebrities in pop culture. Franca Sozzani, the powerful Italian Vogue editor once said that “Fashion is a mirror of our society, of our zeitgeist”, this remark can be used to explain the developments that have taken place in the modelling industry in recent years, such as conversations around inclusivity, racism, sustainability and so on.

The fashion industry is no stranger to the open courts on social media and has been called out several times for its lack of diversity. As a result of public backlash, brands and agencies have paid attention to the same and made changes in their functioning and job opportunities. Versace made waves by championing the body positivity movement at its Spring/Summer 2021 show. The Black Lives Movement threw light on the pay gap and lack of job opportunities available to people of color as well as the adversities faced by them in an industry that has always preferred Euro-centric features and beauty. American supermodel, Emily Ratajkowski published an article in The Cut talking about the toxic workplace culture that exists in the fashion industry and talked about the harassment she faced as a young model in the industry. Conversations like these have grown louder in the past few years and the need for agencies to protect their models from predatory behavior that once was not even acknowledged. It is heartening to see more diversity in the modelling industry, such as the 48-year-old model Amber Valletta walking nearly every runway from Versace to Off-White.³

The modelling industry was one of the worst-hit industries during Covid due to the restrictions on travel, confinement rules, and other technical problems. Aicha McKenzie, the founder of AMCK Models, a small modelling agency in New York stated “The rug truly got ripped from underneath us,” talking about the hardships faced by smaller agencies during the pandemic.⁵ The rules around quarantine also led to the growth of AI models that are easier to work with in terms of a smaller crew, they can be available at several places at the same time, the reduction in carbon footprint due to the lack of travel required, and so on.

Miquela Sousa, an AI model with an impactful Instagram presence of over 2 million followers, wears clothes by brands like Chanel and Supreme, lives in Los Angeles has walked the Milan Fashion Week for Prada, and has the Black Lives Matter hashtag on her bio is very much a reflection of what is to come in the next few years or what already has.

Then there is black digital model Shudu Gram,” who hopes to champion diversity and work with creators from minorities and upcoming designers”. The model Sinead Bovell published an article in Vogue talking about the significance of digital models stating that,” Perhaps the most compelling reason that digital models may become the standard is that they are the ultimate symbol of individuality and inclusivity”. It is to be noted that agencies and brands now expect their models to have a social media presence as well as showcase different facets of their personalities rather than just photogenic faces to connect better with the audience.⁷

Given the myriad of recent developments that have taken place in the modelling industry, it will be interesting to see which ones sustain and how agencies and brands adapt to digitalization as well as inclusivity, representation, and safety.

]]> https://fashionlawjournal.com/the-future-of-fashion-week-and-the-modelling-industry/ https://fashionlawjournal.com/the-future-of-fashion-week-and-the-modelling-industry/#respond Sat, 24 Dec 2022 09:41:24 +0000 https://fashionlawjournal.com/?p=4003 Fashion week is to industry professionals and fashion enthusiasts what World Cup is to football fans all over. One quick scroll on Instagram and you can understand the frenzy and the massive work that goes into a fashion week season after season. Fashion weeks generate press around collections by different designers throughout the year and reach consumers through various channels. The late designer Karl Lagerfeld took things up a notch by making some of the most immersive and transformative experiences throughout his tenure at Chanel. Kaiser Karl managed to transform the Grand Palais in Paris into a supermarket to present his autumn/winter collection in 2014. Among his other larger-than-life executions include a giant carousel, a 265-tonne real iceberg from Scandinavia, the concept of Chanel airlines, and the Fendi show which cost over 10 million dollars and took over the Great Wall of China. In recent times, one such show that caught the attention of anybody with access to social media was the Coperni show in Paris where a white dress was sprayed live onto the body of famous model Bella Hadid. As per WWD, the media impact value of the event was estimated to be 26 million dollars out of which 80% was attributed to social media. Though successful at generating publicity, events like these have also been criticized for being “merely theatrical gimmicks” rather than “artistic”.

However, things seem to have changed when the pandemic first hit, and physical fashion shows seemed like a distant dream. Designers and brands were left with no choice but to adapt to the times and find newer ways to reach their audience. Brands turned to streaming shows without an audience, photos, or sending curated innovative boxes. This time also gave insiders time to reckon and conversations around sustainability and changing the system grew louder/became relevant. New York-based designer, Dries van Noten asked industry members to reconsider the concept of seasonality. One major blessing that hadn’t been harbored to its power was that of digitalization and the impact it makes in terms of sustainability, reach, and cost-effectiveness. Luxury brands like Gucci dabbled in the virtual world by partnering with Roblox to create immersive experiences for their customers.

While acknowledging the boon that social media and digitalization have been, the effect it has had on human jobs is less clear-cut. Fashion weeks generate a lot of jobs such as street style photographers, set designers, businesses for local hotels, and so on. Since the digitalization era is only in its nascent stage, the future of these jobs and businesses stays unclear but very much relevant in today’s times. The brands that have really come out of the pandemic choosing to revolutionize the concept are: Balmain coming up with models on a boat along the river Seine making it refreshing and democratic, Jacquemus creating a show in wheat/lavender fields and Demna Gvaslia creating a red carpet and the Simpsons theatrical experience for his guests. These designers have managed to create one-of-a-kind immersive and unforgettable experiences.

As with the recent shows and the Coperni experience, it’s evident that brands still heavily rely on the traditional ways of doing fashion weeks though there will be changes such smaller number of guests and newer locations as with the latest Chanel show in Senegal. However, it can be said that smaller upcoming younger designers might break away from tradition and turn to digital means connecting with their consumers directly through social media and not seeking validation from institutions. The major brands will continue with the format of grand shows. What remains relevant and most important is that fashion weeks are an integral part of the cycle and will continue to create fantasy and sell dreams like they always have.

Much like fashion weeks, the modelling space is an ever-growing and integral part of the fashion industry. Models became a cultural phenomenon in the 90s rising to the cult status of supermodels and gaining credibility as celebrities in pop culture. Franca Sozzani, the powerful Italian Vogue editor once said that “Fashion is a mirror of our society, of our zeitgeist”, this remark can be used to explain the developments that have taken place in the modelling industry in recent years, such as conversations around inclusivity, racism, sustainability and so on.

The fashion industry is no stranger to the open courts on social media and has been called out several times for its lack of diversity. As a result of public backlash, brands and agencies have paid attention to the same and made changes in their functioning and job opportunities. Versace made waves by championing the positivity movement at its Spring/Summer 2021 show. The Black Lives Movement threw light on the pay gap and lack of job opportunities available to people of color as well as the adversities faced by them in an industry that has always preferred Euro-centric features and beauty. American supermodel, Emily Ratajkowski published an article in The Cut talking about the toxic workplace culture that exists in the fashion industry and talked about the harassment she faced as a young model in the industry. Conversations like these have grown louder in the past few years and the need for agencies to protect their models from predatory behavior that once was not even acknowledged. It is heartening to see more diversity in the modelling industry, such as the 48-year-old model Amber Valletta walking nearly every runway from Versace to Off-White.

The modelling industry was one of the worst-hit industries during Covid due to the restrictions on travel, confinement rules, and other technical problems. Aicha McKenzie, the founder of AMCK Models, a small modelling agency in New York stated “The rug truly got ripped from underneath us,” talking about the hardships faced by smaller agencies during the pandemic. The rules around quarantine also led to the growth of AI models that are easier to work with in terms of a smaller crew, they can be available at several places at the same time, the reduction in carbon footprint due to the lack of travel required, and so on.

Miquela Sousa, an AI model has an impactful Instagram presence with over 2 million followers, wears clothes by brands like Chanel and Supreme, lives in Los Angeles has walked the Milan Fashion Week for Prada, and has the Black Lives Matter hashtag on her bio is very much a reflection of what is to come in the next few years or it already has. Then there is black digital model Shudu Gram,” who hopes to champion diversity and work with creators from minorities and upcoming designers”. The model Sinead Bovell published an article in Vogue talking about the significance of digital models stating that,” Perhaps the most compelling reason that digital models may become the standard is that they are the ultimate symbol of individuality and inclusivity”. It is to be noted that agencies and brands now expect their models to have a social media presence as well as showcase different facets of their personalities rather than just photogenic faces to connect better with the audience.

Given the myriad of recent developments that have taken place in the modelling industry, it will be interesting to see which ones sustain and how agencies and brands adapt to digitalization as well as inclusivity, representation, and safety.

 -By Sanskruti Chhitarka

]]> https://fashionlawjournal.com/the-future-of-fashion-week-and-the-modelling-industry/feed/ 0 https://fashionlawjournal.com/indian-young-mp-raghav-chadha-walks-the-ramp-as-showstopper-at-lakme-fashion-week/ https://fashionlawjournal.com/indian-young-mp-raghav-chadha-walks-the-ramp-as-showstopper-at-lakme-fashion-week/#respond Mon, 28 Mar 2022 05:41:45 +0000 https://fashionlawjournal.com/?p=3295 At FDCI X Lakme Fashion Show, Raghav Chadha who is Indian Youngest MP at Rajya Sabha from Aam Aadmi Party stole the show for a renowned designer and his uncle Pawan Sachdev. Mr. Chadha walked the ramp alongside actor Aparshakti Khurana. 

Raghav Chadha made his runway debut wearing a black leather jacket and leggings over a burgundy high-neck. Even though Mr. Chadha was extremely nervous about walking the ramp for the first time he was the perfect showstopper showcasing the collection with utmost charm and confidence.

The AAP leader’s clothing and appearance drew the attention of the internet, and a few people were taken by surprise when they saw the young politician heading down the ramp.

Mr. Chadha, a key leader of the Aam Aadmi Party, was recently nominated by the party for the Rajya Sabha elections. Recently, Mr. Chadha and four other Aam Aadmi Party nominees were chosen without any opposition.

Raghav Chadha who is 33, is the youngest member of the Rajya Sabha. Mr Chadha played a key role in the AAP’s Punjab assembly election victory. The Aam Aadmi Party won 92 seats  of the 117 seats in Punjab’s assembly.

NFT’s have been taking over the fashion world. NFT’s stand for Non-fungible Fashion tokens. RTFKT, a virtual fashion brand has sold a digital jacket for over $125,000. The world of fashion NFT’s is still fairly new and is being tried out by various brands – like Gucci. Gucci’s first NFT was priced at 20,000 dollars. [1]

India is not one to stay behind and it is designer Manish Malhotra who brought NFT’s to the Lakme Fashion week. Manish Malhotra has yet again proved to be one of the Mavericks of the fashion industry because of the novelty in his collections. He has introduced one of the first fashion NFT’s in India.  For this marvellous feat, he had partnered with WazirX NFT Marketplace and FDCI x Lakme Fashion Week and created 5 exclusive fashion NFTs.

Manish Malhotra stated that he was inspired and intrigued by this form of digital creation and that’s what led him to create the Fashion NFT’s. While he was choosing what to create for this new form of digital art he browsed through pictures, videos and sketches of his old collections which have created the brand into what it is today.

Manish Malhotra believes that it heralds a new beginning and platform for new age artists, designers, illustrators, and digital content creators. The fashion NFT’s created by Malhotra included a sketch titled ‘memorable sketch’ featuring a sari from the movie Yeh Jawaani Hain Deewani.

Manish Malhotra was the designer for the famous movie and was responsible for all the looks in the film which all garnered a lot of public attention. But one of the most memorable was the sari worn by Deepika Padukone during the song Badtameez dil. The NFT has the hand-drawn sketch from 2013 of that very iconic look. It sold for 2200 WRX which equalled to 2677.4 USD.

The next piece was a custom-made sketch of the Lehenga created for megastar Kareena Kapoor Khan for the red carpet of HT’s Most Stylish Awards, 2019. The NFT is called illuminous showstopper and true to its name, the gif lights up beautifully. This particular gif sold out for a whopping 3000 WRX (3,603 USD)

The next Archival diaries which have the model Lisa rays gorgeous still from a Manish Malhotra vintage photo shoot in 1998. The stunning black and white photograph was sold for 1600 WRX (1,952 USD)

Reminiscing runways is a 38 second clip which shows Manish Malhotra wall down the ramp escorted by models wearing his collection for the 8th Caring with style annual fashion show. The show raised funds cancer patients in support of The Cancer Patients Aid Association at Cricket Club of India (CCI), Mumbai 2013.

The last but not the least showcases a part of India heritage – Indian textile heritage. Chikankari has been one of the oldest forms of art in India, an embroidery introduced by Nur Jahan. The particular sketch known as illustrious sketch was of a creation which has been adorned by Alia Bhatt in 2018. Its an ode to Indian craftsmanship and that’s what makes it one of the most beautiful NFT in the entire collection.

IMAGE SOURCE – Twitter/@WazirXNFT

The entire collection has brought the Indian fashion scene up to date the world of technological development. As for the physical fashion collection – its filled with stunning pieces with abundant use of glitter. The show was considered a phygital (a play on the combination of physical and digital keeping in mind COVID) show with showstoppers Kiara Advani and Kartik Aryan. The collections comprised of everything from kalidars, lehengas, jackets, gowns to blouses, kurtas, and shararas. The presence of Indian handiwork was a constant here too with intricate embroidery, color blocking techniques, and the indigenous Indian craftsmanship of zardosi work.[2] The collection was truly spectacular.

AMITABH BACHCHAN NFT COLLECTION

The craze of NFT’s has also touched Bollywood, now that the legendary actor Amitabh Bachchan becomes the first Bollywood actor to launch his own NFT’s with BeyondLife.Club.

Some of the NFT collections include – the star’s recital of poems from Madhushala renowned collection of poems by his father Harivansh Rai Bachchan, Anecdotes from his own career. Personally signed posters highlighting some of the biggest achievements and milestones in the star’s life. And rare digital collectibles from the past and present marked under undisclosed gifts.The other Bollywood stars entering the world of NFT’s are sunny leone who is to launch her own website for NFT’s. Diginoor which deals with NFT’s for movie collectables has announced NFT collectibles from Rajnikanth starrer Sivaji the Boss.

[1] Angelica Villa, Gucci Sells NFT Inspired by Latest Collection at Christie’s, ART NEWS,  (June 2, 2021 5:32pm) https://www.artnews.com/art-news/market/gucci-nft-auction-christies-1234594632/

[2] Team, Manish Malhotra’s Latest Collection At The FDCI X Lakme Fashion Week 2021, I KNOCK FASHION, (MARCH 26 2021 https://www.iknockfashion.com/manish-malhotras-latest-collection-at-the-fdci-x-lakme-fashion-week-2021