Fashion Soc Favourites: Halloween Edition
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
Comments