Margaret atwood: unlikely style prophet in 2017

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Have you ever wondered if a key fashion reference for 2017 will be “deprived of Canadian maids in 1842?” How to “antitrust future slavery walk uterus”? Maybe not. But for a disturbing year, television shows had the most impact on our closets, mostly in two such protagonists.

If you missed the reference, I was talking about the alias Grace and Nvgu’s story. Both are based on the book of Margaret Atwood and are all women who rule and destroy lives by patriarchy. The clothes of the two figures are a symbol of their repression: their clothes cover them; their hats limit their views.
These plays reflect more news agendas than the creepy news agendas. The Story of a Niece not only revealed the authoritative Halloween costumes of 2017 (as well as a dress worn against the Trump protests), but also consciously or otherwise responded to expressions on the streets and designers. Red is the undisputed color of autumn and winter is a coincidence? That “modest clothes” is the macro trend of this year? At UNIQLO, a red long dress should not have felt more about Offred as one of the season’s sales items. In September, Preen exhibited a collection officially inspired by the “Scarlet Letter”, but felt directly from the Republic of Gilead, including bright red and white dresses and little hats.
Sex and the city are the most primitive forms of television fashion reference. Yes, Carrie Bradshaw had her problem (in one episode, her crisis was not itself robbed but forced to hand over her Manolo Blahniks), but her expression was strong and happy, even though it did Triggered a million credit card bills. Similarly, from Gossip Girl to My Life, to Ad Carnival, through the Denise Huxtable at Cosby Show, famous television fashion icons often dress in colorful front-ends. Even in Bimodal, clothes – Audrey’s creased collar tops, pants and velvet dresses – are lively, even though the storyline is not.

Atwood aesthetics is different. The story of a girl is a beautiful melancholy. It has repeatedly been compared to the vermil painting, a grandmother or a blue-reading woman in each scene. Its fashion designer Ane Crabtree, like any other fashion week designer, is inspired by her by a picture of a maple leaf, a picture of the blue sky, a maid of crimson, a commander’s wife, and other maids The moss of green is inspired by “an old mop.”
Alias ??Grace is not so painting, but equally easy on the eyes. These clothes are well thought out, just as unexpectedly popular – all the white-collar clothes are faded blue, soft checks and non-nonsense center part, can be easily seen on Céline catwalk models. (By the way, Atwood has his own creations in both series and looks pretty: her opposition leader in Alias ??Grace is Alexander McQueen, and the story keeper of her The Handmaid is Jil Sander. )
These garments are not for exciting. According to Simonetta Mariano, Alias ??Grace’s costume designer, the fabric is muted – “dyed and faded and bleached” by the sun – because Grace lives hard. Her modesty is crucial, in part because “if you’re a maid, you can not be more attractive than your boss,” she said. Maids have the responsibility to keep themselves invisible; to make their attractive bodies hidden in the eyes of men. “It reminds me of what happened now,” Mariano said. “You do not want to think of what you’ve triggered, and the only way a maid must protect yourself is not to get in trouble.”
Fortunately, the modern city takes on a similar look – with its rugged countryside and the old days, almost as mean as couples on the American Gothic pitchfork in Grantwood – often meaning something different. It is often chosen by consumers who care about the image they project, but do not want to show off their bodies, which is a self-empowering choice. Someone to wear to emphasize their picky taste, not their hip / waist ratio. Often at Margaret Howell and Cos.

As for the hat? Let us assume that their use of the Preen fashion show is for dramatic effects, not the beginning of a trend. Because when the hat comes back, I suspect that we really get stuck.

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