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We caught up with Louis Copeland, Dublin-based Business man and suiting mogul. Namesake of Louis Copeland and Sons, the brand is synonymous with high-end Irish suiting. From Bill Clinton to Conor McGregor, Copeland has dressed many household names during his long and established career. We caught up to discuss his experience in the Irish industry over the years, the evolution of menswear and his advice for people looking to enter the industry.



So I thought we could kick off by asking what fashion means to you, when you hear the word fashion what do you think of?


In terms of fashion I consider myself quite old-fashioned, so I try leave the definition of fashion to the younger generation like yourself. When it comes to products and items I am far more focused on the quality, seeing what my buyers pick out, from feeling the quality of the fabrics and the and construction of the garments that I put my name to. Everything from threads to buttons or even how a garment is packaged - attention to detail is where I’m focused.


It’s a combination of these aspects that all go into making a garment that will last. If everything that goes into making the garment is correct it should look as good in five years as the day you buy it, and investing in pieces that will last for years that you’ll get a lot of wear out of is definitely the way forward for the fashion business. Take suits for instance, they’re always in fashion in one form or another, now I know at this period in time everything is done very casual because everyone is working from home. I’m of the firm belief that they will always be in fashion because it’s a gentleman’s suit of armour, it’s his uniform for work like a soldier’s uniform it is what he puts on to make your feel ready for whatever his professional life can throw at him. When you put on a suit your shoulders go back your head lifts and you feel good and ready for anything, a good suit gives you confidence.


What you think the men’s fashion world is influenced by?


Personally I think that the greatest influence of men’s styles and fashion’s is cinema. If you look at cinema forty years ago you can see the prevalent trends of the time closely resemble the ones we have today, slim trousers and natural shoulder lines in that way menswear is cyclical from casual and loose to formal and tight - each generation seeks to differentiate itself from the last creating the ebb and flow of menswear.


Is there a difference between how men and women approach fashion?


I think men 20 years ago men didn’t really care what they were putting on, clothes were purely functional and designed to fit in. Expression through style and fashion was seen as the domain of the fairer sex. However, this current generation of gentleman have very much moved on from that way of thinking with the likes of Instagram creating a normalised platform for men to create their own personal style and giving rise to individuality rather than in fashion rather than simple dressing to fit in, these days’ clothes maketh the man.


Brilliant line from the man making the clothes! So Louis, what’s the one quintessential garment that you think every man should have in their wardrobe?


Most certainly a well-made navy blazer, it’s by far the most versatile piece of clothing a man can own being so easily dressed up with a shirt and tie, and down with some tailored jeans and comfortable roll neck. The silhouette that a well-tailored jacket gives a man can’t really be matched by anything else, especially if it’s been made specially for the gentleman something I’m huge proponent of, the idea that everyone’s bodies all fall into a few sizes is to me preposterous.


You’ve currently been steering your business though an unprecedentedly challenging period with Covid19, how has this affected you?


Well it’s been very challenging but we have adapted to meet these challenges, all of a sudden we’re doing zoom calls with clients showing them fabrics and clothes and even if we haven’t had the opportunity to measure them up before the pandemic I pride myself on the ability to know someone’s sizes just by looking at them or even a picture, that’s the kind of thing that only comes with decades of experience and what completely sets us apart from other retailers, delivering that uncompromisingly high level of service that people have come to expect from us even though we cannot do it in person. In fact, by forcing us to adapt this pandemic has made us more diverse in the services we offer and that I think will be an advantage going forward.


Louis, what advice would you have for the young entrepreneurs of the future on how to maintain and grow a business?


Well by not getting into the clothing business for a start! But seriously, you have to always keep an open mind and constantly be looking to do something different from your competitors, don’t follow the heard and don’t be afraid to be unusual, strive for it.


You’ve been tailor to the stars for generations, your garments have been worn by two US Presidents and countless movie stars. Who has been the person that you found the most memorable?


Well the one that sticks out the most was probably Dan Aykroyd from The Blues Brothers and Ghostbusters, a huge star at time probably one of the biggest in the world and I remember when he came in to see me with his entourage and publicists etc. being so precious about him, he just pulled me aside and said “don’t mind all that crap Louis” he was such an ordinary and unassuming gentleman.


Louis Copeland and Sons have stores dotted throughout Dublin on Capel St, Wicklow St, Pembroke St and around South Dublin, as well as in Galway and Cork.

You can shop online at louiscopeland.com and follow them on Instagram @louiscopeland_and_sons

This month, we caught up with the super talented Rachel Maguire, better known by @Rashhiiid on Instagram. We spoke to her about all things #RepurposedbyRashhiiid, sustainable garment construction, the intersection of clothing and sexuality, and the highlight of her journey in design so far.

Grace: Some of the pictures on your Instagram are a tad risqué. When you are designing your pieces do you design with expression of sexuality in mind or for shock value? Or both?

Rachel: I would have to say neither of those come into play, neither come into my mind when I am designing. I’m not afraid of sexuality, and I’m not afraid of my own sexuality so I guess that comes through when I’m designing or styling. A writer Martin McCann once told me “If you want to write something worth reading write from the heart, never write with the audience in mind” and I think that applies to a lot of things in life. I’m not thinking of how it’s going to be looked at.

Grace: Has gaining so much exposure on social media given you more confidence in yourself?

Rachel: No. It’s all fake. I don’t believe that any of that truly matters. The people that follow me go home to their struggles, their reality, they go to bed at night with their thoughts, and I go to bed with mine. They may follow me, but they don’t care. And, rightly so, they care about their friends, their boyfriends, their family like I do mine. We meet somewhere in this weird place in the middle and it’s beautiful, but I try not to think about it too much.

Some of my closest friends don’t use Instagram, they have it but they’ve zero posts and I envy them. It’s definitely something that I’ve struggled with because I’m so aware of the negative sides of social media, but I’m equally as aware of the benefits of it for my choice of career. It’s such a negative space. I just have to balance using it by not actually caring about it at all.


Grace: You have such an innovative approach to personal style and it seems to come so organically to you. Where did your passion for styling yourself spring from?

Rachel: I definitely gain inspiration from everywhere I go and everything I see. Travelling is huge for me, what people wear in other countries, that’s probably my biggest inspiration.

I take that with me when I come home, when I travel I stock up on vintage and charity shopping. I’d like to think that I don’t follow trends, but I think we all do. It’s impossible not to be influenced by what’s around us, so I think that we are all influenced by trends. Whether you go against the trend, or you stay with the trend you’re still being influenced by the trend, whether or not you choose to conform to it or not - it’s still dictating how you dress. For me, it’s so much more powerful to be inspired by something I see in real life than in an Instagram post, or online so I definitely have my eyes wide open every time I leave the house.



Grace: We at Fashion Soc have loved your recent magazine shoot with MobJournal and adored the pieces. Can people order them yet? Do you have a website?

Rachel: No. Right now I’m just focusing on learning as much as I can in college, and getting as good at constructing my craft as I can. I don’t want to put things out there yet. I’m still learning, I’m still experimenting, I don’t know who I am as a designer or what I want to say so I’m just documenting the process right now.

Grace: I noticed with the MobJournal shoot, you used all models of colour.

Was that choice made because of the current climate or perchance?

Rachel: With the MobJournal shoot, I was asked by the stylist Oyin that was hired for the shoot to use my clothes. I wasn’t actually a part of the organising of the shoot but I was very excited to be a part of it! To answer that question, I feel like the current climate has made me realise the necessity of being actively inclusive with my designs and my shoots or whatever it may be, rather than just passively inclusive. So before maybe I wouldn’t have gone out of my way to be but moving forward I will. I’m going to be really conscious of it.

Grace: Do you ever regret choosing a fashion design degree, seeing as it’s so hard to ‘make it’ and even harder to make it big with a conscious fashion brand?

Rachel: That’s something I often think about but in terms of ‘making it’, I think that’s a subjective question. I know exactly what you mean, but in my view, I feel that because I was lost for so long that I am just grateful to have found something that brings me joy right now, and if it brings other people joy in the future, then obviously all the better. I think once you do find your passion it will naturally snowball, if I love to do it I’ll be putting the work in.


Grace: Do you ever wonder that you will find it harder to become a big fashion brand because of the limitations your brand values can have? If that’s even something you want for the future?

Rachel: Regret it, never. I can’t imagine doing something else, I’ll figure it out. It’s often a question I ask myself. But I’m never going to change my brand values because of it. If I can make clothes that don’t harm the environment, that’s amazing, so I definitely want to stick to that. Right now, my mind gravitates towards the present so I don’t think about it much. Maybe I should, but despite all of this manifestation and whatever, I really just stay in the present, my mind is much happier there. I don’t put much energy into things that I can’t control, or even reach.


Grace: Where did your passion for designing and repurposing materials spring from? What led you to repurposing materials and why was it something so important to you?

Rachel: I just thought it was much more fulfilling. Something didn’t sit right with me going into the fabric shop and just pointing my finger and finding the most beautiful colour and the most perfect type of fabric for my design. Everything was too perfect. I was like “Hold on, I have a room full of bags of clothes and I have almost a landfill site in my garage. Why not just set a little challenge and try to make this skirt I’ve designed out of this old dress?”. It’s so much better for the environment and it felt a lot more satisfying.


Grace: Something that really struck me about one of your posts was when you said “We have to have a relationship with our clothing”. I thought that was a really nice way of phrasing it. Can you talk to me a bit more about that idea?

Rachel: I think as humans we crave a connection with everything and that’s something that’s been lost through fast fashion. I think the more I connect with my clothes, and remember who sold it to me and where exactly I got it, for example connecting it to different experiences or countries definitely makes me appreciate it more and enjoy getting dressed every morning. It can allow you to feel like the best dressed person in the room. It can’t be cheap, disposable fashion to feel that way.


Grace: I’ve seen on your social media that you’ve been to a wide range of different countries and experienced a diverse range of cultures. To what extent do you feel travel has influenced your design aesthetic?

Rachel: Well, hugely. The last two places I was before I decided on designing my final collection were Japan and Morocco, not close together in time but they were the last places, and in both places they cover up a lot of their skin. Japan in the sense that a lot of them were wearing masks, and they were wearing very long, loose clothing. In Morocco, a lot of people are entirely covered up, a lot of the women. I think that in Ireland we wear really tight things, no matter what shape we are, no matter what size, we all want to wear tight things and often it can be much more flattering wearing things that are more modest - but I can’t really talk.

I think that the modesty of Japan and Morocco really struck a chord with me and I designed my first collection on invisibility.

Grace: Was there a particular experience in Japan or Morocco that carried this theme through your collection, or even further?

Rachel: I was intrigued by why the women were entirely covered up in Morocco. I couldn’t just walk through the streets and not wonder why? I’m quite curious. I didn’t want to just walk down the street and not look into it further. I was making eye contact with these women and I was like “What are they thinking? Are they jealous or are they judgmental of me? How do they perceive how I am dressed?” I started talking to women in the hotel I was staying at “Why do you dress this way?” Because initially in my ignorance, I saw it as them being trapped. Whereas when I started to speak with the women, I realised that it was my ignorance because they said it was their choice. That they were free from the limitations of society and the pressures of appearance. They were saying that they were liberated, that it was nothing to do with their husband or their religion. They truly believed that what was inside their minds was more important than what they were wearing, and covering up took the focus away from anything else. It’s beautiful. And it doesn’t go for every woman there, I only spoke to a handful of women, it will depend on the person and on the country. But it was just interesting and thought provoking to prove my theories wrong. So that is why my whole project and the artwork behind it was based on looking into the different cultures.


Grace: What is the most memorable piece or collection you’ve designed, for better or for worse, and why?

Rachel: Definitely the orange jacket that was made out of an old feather duvet, it was most memorable because my teachers and the principal were like “This cannot work”, “You cannot make a jacket out of an old duvet”, you know especially with the feathers. We all left everyday with feathers in our eyes, nose and mouthes - so it was overcoming those limitations that made it really amazing for me. And the length of time, it took two and a half months because of dragging an entire duvet through a little sewing machine. I had to hoover my whole college at the end of everyday, so yeah just overcoming that. It paid off in the end, I stuck at it, it took a lot of time, and it took time out of my next designs - I had to simplify them, but it was worth it.

Grace: And is it something you wear a lot?

Rachel: Never worn before. I mean when something takes you over two months to make… People have asked to buy it but I can’t bring myself to part with it or price it y’know, it’s kind of something that I want to have forever.



Grace: How much do you feel fashion and sexuality intersects for you?

Rachel: I think that everybody likes to feel sexy. It can almost be addictive to feel sexy, because it’s an extra level of adrenaline. It’s not something that’s very conscious in me, it’s just something that I’ve gravitated towards because it feels good. But for example I only ever think of it when I’m putting up a post and I know my dad and my mum are going to see it and I realise at that moment how sexual or revealing something may be. It’s really only at that moment when I’m about to post it that I’m like “Oh shit my dad’s gonna see this”. I see it through their eyes and then I realise how sexual it is.

Before my fashion course it was never something that I tapped into online. I was always very comfortable about it in real life. As I said I’m not afraid of it. One of my favourite topics of conversation is sex, but it wasn’t something I portrayed through my social media before, because why would I? It was when I was doing my designing that I really realised that It’s kind of part of me. But I don’t feel like “Oh my god my designs are so sexy”. It’s just that when I was putting more things online, and people would say it to me, I realised it was how I was portrayed. But to me it’s just normal not a goal.

Grace: Do you think a fashion design degree is relevant anymore as recently we’ve seen a rise in “mood-board designers” who are creative but lack the technical skills of a designer?

Rachel: I haven’t actually heard of the term “mood-board designers” but I can guess what it means. Let me put it like this - the industry can survive without mood-board designers, but it can’t survive without the technical designers. I think there will always be a relevance for the skill of constructing clothing. It gives you a deeper insight into how you want to design or how you want to translate your fashion, because you know it inside out.

You know what you want and you will know the quickest way to get there, or the most comfortable way to construct it so yes I think it’s very important.


Grace: Sustainability and ethical fashion are at the helm of your brand - how do you manage to keep up with a market that still hasn’t shifted from the consumerism mindset in Ireland?

Rachel: I am aware that that will be my biggest challenge, but I’m still just learning. I’m in the very early stages and I still don’t even know what it is that I want to do yet. So I’m just focusing on getting as much as I can out of the skilled teachers here in the Grafton Academy, they are amazing so I’m literally trying to suck as much information out of them while I can, and then I’m out into the big bad world. That is going to be one of the biggest challenges but right now I’m not stressing over things I don’t need to yet.




Grace: You said sexuality inspires your…well, you’re not afraid of sexuality and that it can just naturally creep into some of your posts and your designs. Does sexuality inspire your collections and your pieces?

Rachel: It might creep in but like I said it definitely isn’t the goal and I think that almost the most sexy outfits are the most modest and the most covered up like in Japan these women are incredibly sexy and they’re wearing baggy t-shirts and baggy trousers. And I know speaking with some of my guy friends they find the most sexy woman in the room is wearing androgynous clothes. It’s the curiosity of what’s underneath that is more enticing, rather than it all just being out in the open. So I think y’know sometimes the more fabric the better. I think it depends on the day, it depends on your mood, so I do a bit of both.

Grace: Are there any other elements that come to you really naturally that people have commented on about your designs online that maybe you haven’t consciously realised? Aspects of your personality that shine through naturally in your clothing?

Rachel: Well, you tell me. What does my personality come across as online? Because I don’t know how I am perceived. Do you get any indication of my personality online? Or just another sustainable fashion account?

Grace: No, I do feel like there’s an essence there! You seem very adventurous, fun, flirty and kind of just up for the craic like. Also, a bit wild. A lot of your clothes are very colourful so just a really vibrant, strong personality, that’s just what I get from it, loud.

Grace: Do you feel like from designing and being at the Grafton Academy of Fashion Design that they have allowed you to express yourself more? Do you feel like maybe in school or when you were a bit younger you didn’t feel as confident expressing those opinions or the more controversial side that you have now? Has design given you an outlet for expressing your personality?

Rachel: It’s a very good question. But no. I was more wild when I was younger. In college it’s sometimes like “Relax Rachel”, “Don’t be adding all those panels” you know. They’re not trying to dim me down or anything. But when something is the wildest in the room I feel a different way about it than I would if I were in a room where everyone else’s designs were wild too, I’d go a step further. If people around me, have designs that are abstract with mad colours, naturally I’m going to be inspired by that environment and bounce off them. But if you’re the wildest in the room and everyone’s looking at you like “Jesus” - naturally then you’ll be like “Oh god I won’t add another…” y’know? I think that we are deeply inspired by our environment and I’ve yet to find the right place to express myself fully.

Grace: Do you think the sustainable fashion and ethical design movement ethos will ever gain enough momentum to challenge mainstream fashion brands? To the point where it’s on a par with them or it overtakes them?

Rachel: It’s a necessity so I think it very much will. Brands are already starting to shut their doors. The consumers are the deciders. Without us, they don’t have anything.

We vote everyday with our money. That’s how things change, from us not them.

So slowly but surely people are caring more, there’s more awareness, there’s more documentaries, and there’s more urgency. I think that’s the direction it’s going in. So they either change to suit us or they will not succeed.


Grace: I wanted to ask you about your new collection. What has inspired the new collection and do you have a name for it? Talk to us.

Rachel: So yeah, my new collection -I don’t have a name for it like my last one being “Invisibility is a Superpower” but it’s inspired by a Japanese outlook on life dating back to before the 14th century called “Wabi-Sabi” and it basically is an outlook on life that’s about treasuring imperfections.

It’s saying that things age, things rust, things never finish. When you buy something it isn’t finished, the perfect newness of it is only the beginning and it evolves and it ages and it rusts and it breaks apart. That is beautiful too, and that we must see the beauty in the imperfections and not just fixate on something being new and perfect. I think it’s definitely something that I have lived by for a while now. That’s inspiring my collection. I’m using recycled denim with a mix of other recycled materials.

Grace: And why did you choose denim for the material you wanted to use?

Rachel: Mainly because I can’t stop using orange and browns and all that, I need to force myself to stop! I don’t really like denim, but I have so much of it, so many jeans, dungarees etc. I literally have a landfill site in my garage and I have a huge box of denim. It’s hardwearing, it’s long lasting and it’s woven. It’s really interesting; In Japan they have this belief of never throwing out denim, separate to the “Wabi-sabi” thing. You pass your denim through generations, repair them and it’s worn in different ways. Like when you first buy denim it’s almost uncomfortable, and then it almost moulds to your body so it ties in with the beauty of the imperfections and the ageing process. I think maybe it’ll be called “Treasuring Imperfections”. Yeah… that’s the name!

You can follow Rachel on Instagram @Rashhiiid and keep up with her latest designs.

In the spirit of Halloween, we at Fashion Soc HQ have compiled some of the spookiest trends, sprung from grunge eras and subcultures of past and present. We took a look back at our favourite more dramatic, theatrical collections, some of which are almost reminiscent of costume. We reached out to some of our members as honorary contributors, to compile the most comprehensive list of the trends, houses and collections that best convey the spirit of Halloween, intentionally or not!


Top Collections


Thierry Mugler

Thierry Mugler’s Autumn/Winter 1995/96 Haute Couture runway shows exhibited a marvelous fusion of theatrical, futuristic and ionic themes. The couture within his 95/96 show embodied dark royalty, romance and a dominatrix presence. Mugler was a showman, which is undoubtedly demonstrated via his grandiose and extravagant fashion moments.


“Le Cirque” designs evoke a sense of sexual fetishism and dominatrix, from Mugler’s use of leather, rubber, corseted curves, high-heeled boots and riding crops. His show celebrated theatrical costume, sexual liberation and gay liberation, by casting not only supermodels, but actors, drag queens and porn stars. Mugler’s 95/96 fashion show was a haute couture extravaganza, a spectacle of what appeared to open with hellish witches and dark powerful women dressed in leather corseted suits with pointed hats, feathers and a blend of grunge and drag-like make up, and gradually evolved to models exotically costumed with animal prints, feathered and sequinned capes, sheer mesh and metallic bodysuits. Mugler worships authenticity and honesty when expressing oneself and shows an intense devotion to the most extreme and theatrical forms of fashion.



Emily Steyaert, Ents Officer




John Galliano, S/S 1994


John Charles Galliano has undertaken many roles with major success, including head designer of Givenchy and Christian Dior. Today, Galliano is head of Paris-based house Maison Margiela. Theatre is at the heart of Galliano’s creations, visible even in his earliest collections. The S/S 1994 collection was heavily inspired by the history of imperial Russia, such as the Romanovs, the “lost” princess Anastasia, Jane Campion’s film “The Piano”, and “Anna Karenina”, a romantic novel by Leo Tolstoy.


Carla Bruni and Kate Moss were transformed into a runaway Russian princess by the name of Lucretia. This narrative was reflected throughout the show with extravagance, seeing models transformed into actresses and clothing, costumes. The collection was displayed on a stripped-back white runway, a far cry from the theatrical sets that would later become a hallmark of Galliano’s shows.


A melange of old-world and contemporary skill used in the construction created an air of laissez-faire grime. The influence of “The Piano” was prominent both in the studio and the runway. According to the film’s costume designer, Janet Patterson, “When a woman wears a hooped skirt, the gestures through her arms and torso become more expressive, and the grace of her gait is heightened by all that undulating, oscillating fabric,”. Such a hooped skirt goes by the term crinoline; a stiff mid-19th century garment used to give structure to a woman’s skirt. Designers such as Alexander McQueen and Vivienne Westwood are among those to also employ the use of this silhouette.


The construction of Galliano’s crinolines featured a modern twist, using telephone wires to allow yards of fabric to appear weightless and allow for movement. Suggestive twists such as transparent tops made from flimsy chiffon added a racey contrast to the conservative theme. “It was all about these traditional and non-traditional dressmaker’s skills,” says Jennifer Osterhoudt, long term intern for Galliano.


This marked contrast between old and new extends to the “highland fling” section of the show. Diverging from the traditional romance in the other pieces, Galliano created flirty party dresses inspired by British eclecticism. In Galliano’s words, “that was when it switched to 1994”.

The Collection can be seen here:

Isabel Farrington, Secretary



Elsa Schiaparelli, The Skeleton Dress


Italian-born fashion designer, Elsa Schiaparelli, was famous for her Surrealist and avant-garde approach to fashion, and her friendships with Ray and Duchamp, the A-list Dadaists of her time. Remembered for her witty accessories, such as a purse in the shape of a phone, the piece which undoubtedly trumps all is the 1938 Skeleton Dress, based on a Dalí drawing of a woman in a sheer, clingy fabric that reveals her rib cage and hip bones. Schiaparelli’s real-life version was made from a black rayon, with fabric sewn on to resemble ribs. The usually delicate quilting technique was exaggerated to make enormous 'bones'. This design was stitched in outline through two layers of fabric, then cotton was inserted through the back to bring relief on the front. ‘To me it embodies the whole issue of fashion and why it's so serious and interesting to us,’, Dalí Museum executive director, says. ‘Whatever we wear on the outside always expresses to some degree what we feel on the inside—the sense of externalising the interior.’ Although only one version of this dress was ever made, its striking silhouette inspired later designers, including Alexander McQueen. To many contemporaries the sinister black skeleton evening dress with its padded representations of human bones was an outrage, but to me, it’s a piece that has always stuck with me and sparked my interest in pushing the boundaries of art and fashion.

- Ella McKee, JF Rep























Dilara Findikoglu


A Turkish-British design graduate from Central Saint Martins, Dilara Findikoglu embraces all that is huanting and outlandish. Not only are her designs wildly theatrical, but she often references important issues such as climate change, women’s rights and mental health in her work. Findikoglu’s most recent AW20 collection was inspired by ‘the dark side of [her] brain’ - perfectly appropriate for the spooky season that is upon us!


This collection takes a contemporary approach to the hourglass silhouette and it dramatises style staples. The above silver gown could belong to a Halloween ball as it is concurrently classy and creepy. Findikoglu has jagged 3D objects jutting from the dress, while the model’s powdered face and nest-like hair is an allusion to the supernatural world. An all-black leather ensemble is more stylish and wearable, while also a classic colour and fabric combination for costumes such as cat-woman and batman.


My personal favourite impressionistic look from the collection is a red satin lace-up corset attached to billowing trousers. The matching metal cuffs and bra are adorned with chainmail crosses - a symbol of religion that features heavily across Findikoglu’s work. This outfit is effortlessly cool, elegant and structured, although it draws on elements of torture and evil.



Dilara Findikoglu has dressed many, from Rihanna to Lady Gaga and is continuously making waves in the fashion industry. Her wicked, eccentric theatrics are scary in their satanic symbolism and beautiful in their delicate fabrics. Ideal for Halloween inspiration and proof that femininity and power can go hand-in-hand!

The full collection can be seen here:

- Aisling Finegan, Society Member



Costume-esque Picks


Harajuku Subculture

If you’ve never feasted your eyes upon the gloriously eccentric Japanese subculture that is Harajuku you have surely missed out. This subculture encompasses a variety of Japanese styles from Lolita, Gothic lolita and Cosplay, to Yamikawaii (dark cute) and punk rock clothing. Originating in the 1980's, the Harajuku style was named after Harajuku Station in Tokyo which to this day is still the epicentre of this subculture.


For most that partake, their fashion is their lifestyle and although the average tourist or admirer may get lost in layers of pink lace and frills that create bounts of Kawaii or cute dresses, there is a dark side to this subculture. However, is a darker side associated with the culture, like Yamikawaii in which many use their fashion to express their mental health struggles, mixing cute anime characters with darker motifs in order to tackle the complexities of life, and the contrast between the mind and what we actually portray to the world. For more, this Refinery29 article covers the underbelly of the culture;


Aside from that, the Harajuku trend is mainly known for its cute (or, Kawaii) childlike styles, that allow for the truest forms of self-expression. Imagine Halloween everyday! This subculture is derived from Japanese youth, wishing to defy the strict and uniformed nature of Japanese culture. Finding the most colourful Kimono with anime or fruit motifs and matching sparkly pink platform boots is an outlet for many. The beauty of Harajuku in my opinion is the battle for individuality and self-expression. Whatever part of the subculture they decide to partake in is done to the highest level, fighting to be the main character and grab the attention of all.


Maison Margiela, Masquerade


The masque as a fashion accessory first came into prominence in the 15th and 16th centuries when they became a de rigueur addition to the costumes of the upper echelons of society, particularly in Venice where elaborate masquerade balls were held, allowing an air of mystery and glamour to prevail where nothing was quite as it seemed. Behind a mask the wearer could conceal or alter one's identity, allowing freedom of expression and a hint of promiscuity.


Belgian designer, Martin Margiela pioneered the use of face coverings on the runway. His signature masks made of crystals with mirrored detailing are part of every one of his shows. The designer who is obsessively private, has never made a public appearance during his career. This sense of mystique manifested itself in his designs and runway shows where his models wore custom made bejeweled masks, covering their faces completely. Margiela rejected the expectation of the designer as a celebrity, preferring to let his designs speak for themselves and his masks were symbolic of this.


Masks gave him anonymity protecting him from the feeding frenzy of the media. The model’s masks while adding to the overall aesthetic, reverted the focus firmly from the model back to the visual experience of the clothes.His masks are things of beauty. They intrigue the viewer, enticing them to look closer, to reveal the face behind it, creating a barrier between the beholder and the model.

Kanye West brought Margiela masks to the attention of the masses when he chose him to design his Yeezus tour wardrobe in 2013, challenging male fashion norms. In 2012, he performed in Atlantic City in all white wearing a crystal encrusted Margiela mask. Other designers who have used this theatrical device to dramatise their shows are Alexander McQueen, Thom Browne and Viktor Rolf, whose art and fashion diverge creating pieces of visionary beauty.

To see Kanye multiple bespoke pieces, click here:

- Grace Doyle Flaherty, OCM

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