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Wednesday, October 5, 2022

Who do you want to be? | Fashion

Alexandra Shulman, the director of Vogue UK from 1992 to 2017, recounted that once, when introducing herself, her interlocutor told her: “How curious, you don’t look like a Vogue director.” In the imaginary of fashion and magazines, a director wears sunglasses indoors, 20,000-pound gemstone necklaces, and bob hair always styled the same, like Anna Wintour. Or the wild hair and the total black look of Carla Sozzani. The French rock and roll chic of Carine Roitfeld, with very thin heels and pencil skirts, and that perfectly disheveled hair that later would also be a sign of Emmanuelle Alt. What is known in these magazines as the signature look, that is, the signature outfit, Perhaps it did not correspond to the common appearance of Alexandra Shulman. What did fit her role, however, was the haughtiness of which these moguls have often been accused. In fact, when asked that she didn’t look like a Vogue director, she responded, “It’s weird because that’s just who I am, so this is exactly what a Vogue director looks like.” That the outfit serves to build our personality is indisputable. The choice that we make every morning, even if it is inaction, sends a message to the world and also helps us to control what we project. But beyond this functional part, fashion is a staging that allows us to play and have fun, create different personalities, hide or show ourselves, go unnoticed or attract attention. That’s why it’s a fundamental part of character building. In an era in which fiction and entertainment soak up every millimeter of the ground we walk on and the imaginary we handle, we have dedicated this issue to investigating the relationship between entertainment and fashion. With a mysterious cover starring the most mysterious of models, Edita Vilkeviciute, we discover that being anonymous and chameleon is the counterpoint to being an it-model, and a real value in the industry. Not being signified by anything is equivalent to being perfect for everything. We talk about the series and movies where fashion brands have a leading role, sometimes even in the title. We visited the company in Algete, with more than 250 workers, where they make, buy and restore costumes to transform series and movie actors into whatever they want, from the Bridgertons to Troy, whose armor they keep (except for Brad Pitt and Orlando Bloom, because they kept them). The interview with designer Olivier Rousteing, who explains the homage he paid to Jean-Paul Gaultier in his collaboration for the master’s haute couture collection, is revealing: how do you capture the irreverent yet commercial spirit; pop but intellectual; mainstream but activist? Well, shaken, not mixed. Proposing a show parade in which applause, cheers and surprises accompanied a festive and literal collection. We have other experts in the costume: the singer Sharleen Spiteri, who has never changed her appearance by building an unmistakable armor that makes you hum I Don’t Want a Lover when you see the photo of her. We also interviewed Aura Garrido, an expert in mimicking roles that require her to be a medieval lady or a contemporary woman. At a time when we constantly talk about identity, the power of fashion to transform us into what we want to be, to amuse, entertain and enjoy is a small oasis to which we wanted to invite you. Sean Young, the replicant Rachael in ‘Blade Runner’ (1982). Photo: ALAMY STOCK/CORDON PRESS

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– Article Written By @Sofía Ruiz de Velasco from https://smoda.elpais.com/moda/quien-quieres-ser/

Nicole Aniston
Nicole loves to write and works as a corporate communications expert by day. She's been working in the field for quite some time now. Her training in media studies has provided her a wide perspective from which to tackle various issues. Public relations, corporate communications, travel, entrepreneurship, insurance, and finance are just few of the many topics she's interested in covering in her work.
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