Mochila bags featured in NY Times' "Mochila Bags: In the Moment, and Long Gone"

Apparently the latest ‘It Bag’ fought over by ‘It Girls’ isn’t coming from the usual logo ladened corporate conglomerates.

It takes the women of the Wayuu tribe of Colombia and Venezuela up to a month to weave a mochila bag, working eight hours a day, every day. It took no time at all for J. Crew, which featured the strappy satchels in its June catalog, to sell all of them. In fact, they were gone before many customers had even flipped open the issue.

But however wonderful it might seem to be supporting ancient indigenous artisanal craft,  what happens to this new mini industry once the fashionistas abandon these for the next big trend? Karin Nelson writes for the NY Times:

Recently, the mochila has become something of a cult item, toted around town by fashion editors and It girls, and the subject of chatter on style blogs. “It seems to be the iconic tribal bag,” said Anne Slowey, the fashion news director of Elle, who has picked up a few on her travels. “The perfect mix of practical, exotic and chic.”

The PR folks at J. Crew offer the following explanation for the bag’s popularity.

“Craftsmanship is something rare and very valuable,” said Jenna Lyons, J. Crew’s creative director, who was not at all surprised by how quickly the bags went. “There are few things that are still made by hand, much less in a technique that is handed down through generations and is a means of support for a community.” On top of that, she added, “It’s a beautiful bag.”

It’s not entirely untrue, of course, but completely neglects the obvious fact that these amazingly crafted items have been around since long before J. Crew… why now are they all of a sudden so hot? Nelson writes:

Much of the craze can be traced to November when the Vogue editor Lauren Santo Domingo organized the Mochila Project. For it, 40 designers, from Alexander Wang to Oscar de la Renta, were each given a traditional bag and asked to rework it in their own style. The extraordinary results — the Calvin Klein was trimmed in snakeskin; the J. Mendel, in fur — were then auctioned off at a charity event in Miami that left those nowhere near South Florida somewhat envious.

Ah yes, the real truth. Craftsmanship is one thing, but when the fashion cabal creates an elite insider event, carrying around the signifier that marks you as in the know? That’s what the ‘It Girls’ will shell out the big bucks for.

And who knows, given the shift away from corporate symbols and towards the status of individual quality crafts, perhaps some entrepreneur might find a way to enlist the work of of the Wayuu tribe into the next great thing.

When Simon Doonan, Creative Director of Barney’s, (one of the handful places where fashion forward designers have access to the rare slice of edgy yet wealthy clientele that can afford their pieces), the extremely influential guy who the rest of the fashion industry knows to pay attention to… when Simon Doonan declares The Death of Trends then it’s a zeitgeist shift worth pondering. There are still going to be shapes and norms that we collectively select (whether you follow them or rebel against them) but I see this as more of a backlash against the accelerated cycle of the spending on disposable clothing hamster wheel and a coalescing around an iconic vocabulary of modernist elements; classics that are tweaked and revised with the times.

photo by Roxanna Lowit for the Jewish Daily Forward

Doonan writes for the Observer:

Fashion is no longer icy and aloof. Fashion is a massive, forgiving, ambiguous melting pot where people and trends can dig in their Lee Press-On nails and hang on for years and years without ever being out.

He goes on to list a few examples:

Uggs. Style pundits may have broadcast their out-ness for years, but last week’s snowy streets were packed with Uggs-sporting fashion plates.

There is a delicious personal irony in this example given that back in 2004 Uggs were cited in a lengthy discussion in Fashion Theory class as an example of trendy for trendy’s sake. Even though this trend might have been initiated by celebrity sitings, (so awesome to slip on between takes on outdoor shoots) could it be that they’ve had staying power because those who bought them discovered they were super comfortable and well made and lasted forever?

Skinny jeans. Despite their supposed out-ness, they have managed to become a fashion staple, especially when tucked into riding boots. Tally ho!

Key term, “Fashion Staple.” So they became ‘in’ a few years ago as the bootcut finally reached mass market saturation, but could it be that one fashion staple was traded in for another? Could it be that people want fashion staples?

Filson clothing, used as an example of 'American Workwear' trend on brand consultancy blog "We Are The Market"

Of course, now that the skinny jean is headed for eventual  mass market saturation, it will eventually go the way of the mom jean (which has been ‘out’ almost long enough to be revived…), so it’s not as if the trend cycle is no longer. But given that ‘fast fashion’ retailing cycles had accelerated to the point of new trends every six weeks, could it be that more and more consumers are weary of this and seeking alternatives?

These alternatives - especially to spending too much - have been found for the past few decades in the ‘indie’ and ‘alternative’ subcultures continued fascination with vintage. As these ‘trends’ arise in the vintage industry about which items are hot and eagerly sought after, it was a natural progression for designers to use said items as inspiration for re-issues.

Wordsworth Boot in Moss Green - John Fluevog, from Libby's Steampunk Gift Guide at Steampunkworkshop.com. Someone buy these for me! *covet*

For buyers, designers, retailers and marketers wondering what the new face of consumption might look like in a post meltdown economy, Jake von Slatt and Bruce Sterling offer a vision of steampunk philosophy so eloquently stated I had to include it in its entirety. It’s a challenge to voluntary simplicity, which he claims as boring. And can be a lot of work. (no kidding!) The steampunk philosophy allows us to embrace and enjoy and even spend a lot of money on beautifully functional well crafted things things in our daily lives. What is disdained is the excessive, the filler, the junk, the disposable.

I stumbled upon this on the Steampunk workshop site:

The definition of steampunk is still a fluid and flexible thing, and that’s exactly how I like it.  When we talk about what steampunk is we talk in generalities and we leave a lot open for interpretation and thus creativity. But there are some memes in steampunk which are recurring. One of those is the rejection of a disposable economy, a belief that there is value in the finely made, and that participation in today’s race to the bottom, to the lowest price, to quantity over quality, is ultimately injurious.

Bruce Sterling (a steampunk icon in his own right) wrote about the value of fine things in his Last Veridian Note:

It’s not bad to own fine things that you like. What you need are things that you GENUINELY like. Things that you cherish, that enhance your existence in the world. The rest is dross.

Do not “economize.” Please. That is not the point. The economy is clearly insane. Even its champions are terrified by it now. It’s melting the North Pole. So “economization” is not your friend. Cheapness can be value-less. Voluntary simplicity is, furthermore, boring. Less can become too much work.

The items that you use incessantly, the items you employ every day, the normal, boring goods that don’t seem luxurious or romantic: these are the critical ones. They are truly central. The everyday object is the monarch of all objects. It’s in your time most, it’s in your space most. It is “where it is at,” and it is “what is going on.”

It takes a while to get this through your head, because it’s the opposite of the legendary of shopping. However: the things that you use every day should be the best-designed things you can get. For instance, you cannot possibly spend too much money on a bed – (assuming you have a regular bed, which in point of fact I do not). You’re spending a third of your lifetime in a bed. Your bed might be sagging, ugly, groaning and infested with dust mites, because you are used to that situation and cannot see it. That calamity might escape your conscious notice. See it. Replace it.
…
Get excellent tools and appliances. Not a hundred bad, cheap, easy ones. Get the genuinely good ones. Work at it. Pay some attention here, do not neglect the issue by imagining yourself to be serenely “non-materialistic.” There is nothing more “materialistic” than doing the same household job five times because your tools suck. Do not allow yourself to be trapped in time-sucking black holes of mechanical dysfunction. That is not civilized.

Leather for women becomes mainstream everyday wear while young men rebel against their parent’s generation by… wearing a jacket and tie?

http://crossanda.blogspot.com/2008/07/look-of-week.html

Two NY Times articles side by side offer a telling glimpse not only into the generation gap, but into shifting gender roles as well. From David Coleman’s Dressing for Success, Again:

“Today the well-off 55-year-old is likely to be the worst-dressed man in the room, wearing a saggy T-shirt and jeans. The cash-poor 25-year-old is in a natty sport coat and skinny tie bought at Topman for a song. Young men are embracing the “Mad Men” elements of style in a way that the older men never did, still don’t and just won’t. The result is a kind of rift emerging between the generation of men in their 20s and 30s and those in their late 40s and 50s for whom a suit was not merely square but cubed, and caring about how one looked was effeminate….

Between those schlubby baby boomer guys delaying retirement, the fact that Gen Y twentysomethings are the largest demographic group in history and thanks to the successes of feminism young men also have to compete for jobs with their female counterparts in a way their fathers never imagined, the boys motivated to make it in this economic climate have to use every tool they can to distinguish themselves and get ahead.

But what are the girls up to? Ruth la Ferla writes,

Hermes Fall 09 from Style.com

A disdain for such sweetly conventional trappings of sex appeal has trickled down of late from tastemakers like Ms. Watson to scores of followers who are swapping their baby-doll dresses, spindly heels and lace for the flinty attractions of studs and leather, mannish jackets and rock-star jeans. Their embrace of a pointedly aggressive, street-smart style suggests that the more adventurous are rethinking the tenets of female allure.

Hallelujah! I’m having a flashback to my teenage years,

Women now want to project a “more powerful sexuality, not a damsel in distress,” said Sharon Graubard, a senior executive with Stylesight, a trend forecasting firm in New York. The look, streamlined and armored for tough times, reflects a distrust of trends and a skepticism toward traditional gender roles. Most tellingly, perhaps, it also represents a pragmatic response to a hobbled economy.

“So-called luxury — people are tired of it,” said Tatsugo Yoda, the owner of Aloha Rag, a fashionably progressive Honolulu boutique with a New York outpost. “They want more utilitarian pieces — military jackets, track pants and classic white shirts — that they can wear more than twice a year.” The look is assertive, Mr. Yoda said, but recognizable at the same time.

Actually, I’d like pieces that I can wear twice a week, and if my male counterparts can have it, why can’t I? As the propects of a banker boyfriends financing fussy fashion habits grow thin right along with jobs in the fashion industry, it’s not surprising that those still standing carry a survivalist chic aesthetic about them.

These notions of sexual allure can be traced to the utility gear adopted by self-styled survivalists, the funky regalia of old-school rockers, even the lingerie-and-leather of Parisian streetwalkers. More Patti Smith than Fergie, current variations on sultriness are thorny and faintly androgynous. These rebellious, antifashion messages, blunted over decades of exposure, have been picked up, inevitably, by the world of high style.

Today shapeless, and sometimes shredded, T-shirts, combat boots and aviator caps reminiscent of a Mad Max epic, are proliferating on runways, as are leggings, fatigues and bicycle shorts.

Of course, no talk of Mad Max survivalist style would be complete without a nod to Burning Man. But how interesting that while the girls are moving towards the rugged and shredded tough girl look, the boys are getting cleaned and pressed. These two phenomenon side by side also indicate to me another nail in the coffin of a world where modern young women could automatically assume that finding a man as a breadwinner was the rule and not an exception. Given that most of the jobs lost in this recession have been to men and thus women outnumber men in the workplace for the first time in history, young men have another reason to dress for success and it ain’t just in the office. Their dating pool might very well consist of women who are doing better financially than they are, and now it’s role reversal time - they’re the ones playing the looks card.

One thing both genders share is a rejection of disposable fashion. Back to Coleman:

“There’s a sense that this return to style, or to a consciousness of how you look, is an attempt by young men to recover a set of values that were at one point very much present in American society and then lost,” he said. “It strikes me as being of a piece with the way young people buy their coffee or their food: paying attention to authenticity or quality, and to whether something is organic or local. They stand for a rejection of the idea that all consumer goods are ephemeral and inevitably made in China and bought at Wal-Mart.””

From Michael Bastian's Fall/Winter 09 collection

Luxury you say? But this guy here on the runway, it looks like he just piled on the vintage clothes. And forgot to button his shirt cuffs… But according to David Coleman of the NY times, Michael Bastian’s clothes are quite in demand, recession notwithstanding.

In the four years since he left his job as the fashion director of Bergdorf Goodman Men to start his own label, Mr. Bastian has found surprising success with an agenda so modest it almost seems radical: to give men slimmed-down, spiffed-up versions of the all-American clothes they have long loved. Military shirts, khakis, wool tweed trousers, rugby shirts, ski sweaters, two-button suits, polos, Western shirts, swim trunks. A lot of designers toss around the phrase “classics with a twist,” but Mr. Bastian delivers: the right classics and the right twist.

His semiannual shows are not wildly produced fantasies of tomorrowland or yesteryear that send the fashion press into raptures. At his informal runway presentations, the clothes just look … good. You don’t think: Yes, it really is all about the 19th-century samurai right now. You think: I want those pants.

Let’s repeat that: “the right classics and the right twist.” This is why you want those pants. And those who purchase said pants aren’t just being practical…

The closest Mr. Bastian comes to a signature look is that apotheosis of laissez-faire wear: cut-off shorts. He has carried them every season, priced at roughly $600.

He is, at least, open about his prices. “It’s crazy,” he said. “I can’t even afford my clothes.” A dress shirt from his line can cost $425; pants, $550; a sport coat, $1,150.

I don’t care how amazing they are - $600 cut offs are NOT practical. But when they are selling out they must be insanely desirable to a target demographic with money to burn.

From Michael Bastian's Fall/Winter 09 collection

This is stealth wealth my friends, it reflects a post-meltdown anxiety when investment dressing questions include “Will I this come in handy in a post apocalyptic Mad Max world?”

“It was about escape,” he said. “I was designing that collection when the world was falling apart, and I thought, ‘God, what are guys possibly going to want?’ So I had this idea of getting just those things you love, things you’d stuff in a duffel bag, and just going. The things you’d save if your house was on fire.”

But you know what I think the real secret to his success is? His focus on his clientele as he eschews the celebrity ego:

He himself has heard people describe him as “a merchant” more than a designer.

“Is that supposed to be a slap?” he wondered. “A compliment? The hardest thing is to take something familiar and make it better. The easiest thing is to create something no one has ever seen before. There’s a reason no one’s ever seen it — because someone tried it, and it didn’t work in the real world.”

Aspiring designers everywhere need to read that. A few more ideas to consider…

“What he does just nails it,” said Dr. Lawrence Piro, a physician in Los Angeles. “He takes these iconic things, like Nantucket reds or an old ski sweater, and he makes the cut and material newer and fresher. He doesn’t eliminate the iconic thing the way designers often do. They’ll go too far to make it their own thing, and Michael gets it just right and stops.”

“Gets it just right.”

At Bergdorf, Mr. Bastian adopted the store’s practice of making lists of things he thought should be in the store. When he couldn’t find them at fashion shows, he had them made for the store’s private label. After working at Bergdorf for almost five years, he took a solo idea — a line of plain, nicely tapered khakis — to Mr. Burke, who encouraged him to go out on his own.

The backbone of the new venture was simple: that list of things he knew guys wanted.

Here’s a phenomenon to debate in future posts - design to fill a market niche, anticipating consumer desires versus design to explore and play with one’s sartorial visions and convincing the customer to buy.

from S+ark by Ballantyne

Jasmin Malik Chua writes for Treehugger, Anti-Fashion Designer Philippe Starck Creates Sustainable Fashion Collection:

French designer Philippe Starck is broadening his reach to include ready-to-wear clothing for men and women. Just don’t call it “fashion,” s’il vous plait.

“Although the work of [its] creators is fantastic, I will never be idiotic enough to do fashion,” the father of the Juicy Salif juicer and the Louis Ghost chair told Le Figaro newspaper just before the collection launched in Florence last week. “The public will take maybe three years to understand the concept. It’s not fashion. We won’t be very big in the newspapers. The clothes are non-photogenic. But intelligent people will know to discover us.”

He claims he’s sidestepped fashion. I say that’s not possible if you’re trying to sell expensive clothes to the “intelligent” people (translate: hipsters with advanced degrees in creative fields who can afford designer cashmere). Slower under the radar fashion that is inaccessible to the masses, perhaps, but fashion nonetheless.

Because the essential ingredient of fashion - be it a garment, electronic gadget or even an idea - is that it is of the moment and somehow captures the zeitgeist. What Starck - and presumably his clientele - are trying to dissociate themselves from is the garish, trendy, disposable frenzy of junky garments of malls and H & M’s across the globe. But he still can’t escape the imperative to offer something novel that will inspire those with discriminating tastes to buy.

The real anti-fashion?

Johnston's of Elgin men's cashmere v-neck sweater

Good ‘ole v-neck cashmere sweater. You can find versions of these that are 50 years old and look just like this one; grandpa cut and all. Now that’s anti fashion.

But if super cool Starck can make investing in, wearing and keeping highly functional and aesthetically pleasing garments that are built to last a concept that catches on and grants status to the tastemakers, then I’m all for it.

Lizzie Davies writes for the Guardian UK:

Convinced that rising concern over the sustainability of mass consumerism will encourage more people to look for longer-lasting solutions to their wardrobe dilemmas, Starck believes the time has come for clothing to develop a conscience. “It’s the right time to launch this collection. We are starting something that cannot not work, and that will be followed,” he said.

For years we’ve seen mainstream talk about going green and cycling to work, and finally, several years later, we’re seeing the glimmers of niche companies who realize that people don’t want to change clothes every time they get off the bike.

Jason Gay writes for the NY Times, In These Clothes You Can Go Far:

Most of Rapha’s items are constructed with modern materials, like Sportwool, a part-Merino fiber that wicks away sweat. Almost everything the company makes is designed to be appropriate for wearing to a casual workplace, or at least to the coffee shop.

“Before Rapha, there were two ways to be fashionable in cycling,” said Bill Strickland, the editor at large of Bicycling magazine and until recently the author of its Style Man column. “The first was to be supertechnical, and look like a pro. The other way was to be pure vintage. Rapha created a third way, starting with a premise of ‘How would I like to look in town?’ ”

Mr. Mottram, a buzz-cut 42-year-old who describes himself as a “keen but not very good” cyclist, said he started Rapha after being frustrated by the clothing options at his local shop in London. “My friends were on bikes that would cost $3,000 or more, but then they’d go spend $50 on a shirt that was badly made and badly styled and had no passion in it,” he said. “There was a gap in the market for this.”

I know, I know, it’s hard to envision your average businessman - or even the average hipster going to the day job or out on the town - cruising the streets in 19th century-esque knickers and barbie pink turned up cuffs and collars. Much less paying nearly $1000 for the ensemble. But hopefully this high-end New York example is a harbinger of more mainstream affordable options to follow.