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Why the Fenty x Savage Show is Worth the Watch

November 8, 2019 16:32

I remember back in middle school the Victoria’s Secret Fashion Show was the highlight of the year for many classmates of mine. Girls would all meet up and watch it together and it was all the buzz the next day at school. Personally, I never participated, not out of rebellion, but just because I was never invited. One night, laying at home in bed, just out of curiosity I watched 30 minutes of a show by myself. Although the performances were pretty good overall the barely clad models made me feel two things: fat, and ugly. You can bet that I never watched another one again.

Since then a lot has changed. Generally, beauty ideals are progressing away from your average skinny white girl and moved into a more inclusive area. Another thing that's changed is that Rihanna has expanded from being just an amazing singer to becoming a fully-fledged, killer businesswoman with big ideas.

Although she hasn’t blessed us with a new album since 2016, Rihanna’s been blessing us in every other way imaginable. From makeup to fashion, and lingerie, she's been disrupting industries and never disappoints. Savage x Fenty is unique because according to Rihanna "it was created for the female gaze, not the male". In September at the New York Fashion Show she debuted her latest installment of the Savage x Fenty lingerie collection. After last year’s show, we knew only to expect great things, but this somehow managed to surpass all imagination.

Models and celebrities such as a Cara Delevigne, Laverne Cox, Bella and Gigi Hadid adorned the runway lightly clad in the clothes from the new collection. The choreography of the walk was a beautiful play of shapes and colors and the soundtrack was an eclectic mix between heavy electronic beats, some hip-hop, and even a snippet of Bach's Mass in B Minor.

The lineup included performances from A$AP Ferg, Migos, Big Sean, Tierra Whack, Fat Joe, Normani, Fabolous, and Halsey. The show was a blend of music, dancing, and fashion, combining these three in a way never done before. From the choreography, to the music, to the set design everything is just perfect.

Another thing that is remarkable about the show is its inclusivity about which Rihanna said "I'm looking for unique characteristics that aren't usually highlighted in the world of fashion as it pertains to lingerie and what society sees as sexy". And all the models looked so fierce doing their thing

The show was about celebrating women of all different shapes and sizes, owning their bodies and their beauty. It was definitely the most inclusive and extravagant fashion show of all times and Rihanna naturally raised the bar for all fashion shows to come.

If you feel like having a night in this weekend and have some time to spare, I wholeheartedly suggest you watch this on Amazon Prime and together we can gleefully celebrate the glorious downfall of Victoria's Secret.

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The employees in the boutiques, in the design studio and in the backstage area at fashion shows wear white lab coats, as was common in the ateliers of the great couturiers, e.g. Christian Dior, and is still common today. The fashion shows for the high-priced fashion sometimes took place in the context of the Paris Prêt-à-porter shows in unconventional locations, up to shabby surroundings (construction site, metro station, dining room of the Salvation Army etc.). The boutiques are kept in plain white and gray. Margiela originally selected unspectacular locations such as a residential area in Tokyo and did not publish the addresses of the boutiques in order to require the customer to make an effort to find the store at all. The first Margiela store opened in Tokyo in 2000 and the first European boutique was inaugurated in Brussels in 2002. In 2008, a boutique opened in a basement on the edge of Munich's Maximilianstrasse. This was followed by participation in numerous exhibitions, including "Radical Fashion", which was shown in 2001 at the V&A Museum in London. In 2010 there were 36 own stores worldwide.  In 2015 there were over 50 stores worldwide, including boutiques, that only carry the MM6 collection.

The company followed a very restrictive communication policy. The designer can neither be photographed nor interviewed. Only his creations should speak for themselves and the designs should be perceived as the overall performance of the team. That's why the team always shows up in white doctor's coats after the fashion shows - nobody should stand out.

By recycling old fashion, separating, recoloring, reversing seams and zippers, both the origin and the artificial of the art of tailoring are shown. Margiela puts together what doesn't belong together: by hand, jeans turn into skirts, old army socks become pullovers. Baptized by the press as deconstructivism, this current is defined by an abrupt collision of different materials, which at first glance appear inharmonic in the sense of conventional viewing habits. Margiela herself rejects the term "deconstructivism". He resurrected clothes in a new form, he told ELLE in 1991.

Margiela was the unofficial 7th member of "Antwerp 6", a generation of fashion designers who all completed their training at the Royal Academy of Arts between 1980-1981 and shaped the "style of the Belgians". However, it does not belong to the actual group, but it became known in a similar period.

The Japanese "Street Magazine" dedicated two special editions to "Maison Martin Margiela", which were published in book form in 1999. Nicolas Ghesquière (Balenciaga) is a big fan of Maison Martin Margiela.

In July 2014, fashion critic Suzy Menkes exposed Matthieu Blazy via Instagram as Head of Design, after which he deleted his Instagram account and changed his profile in a career network. He left the company on October 1, 2014.

To this day, Margiela pieces, especially in the fashion industry and all fashion lovers, belong to the sanctuaries in every repertoire and archive. Getting vintage pieces from other designers may be possible, but Maison Martin Marginal Archives are a real hunt and that says it all about this art.