Anna Wintour once said…

Is there a place for the past in fashion?

I was a bit hesitant to share this essay as I only got a “B+” grade for it in my first year. It’s nice to share the highs, but it is also important to reflect on the lows as this is where growth happens.

“Fashion’s not about looking back. It’s always about looking forward.” Anna Wintour, The September Issue, (2009), RJ Cutler, dir. USA: Roadside Attractions. Examine some of the limitations of this perspective and how its context contrasts with the contemporary media landscape.

To examine the limitations of this statement, the perspective of the speaker must first be evaluated, as Anna Wintour is a globally recognised figure in fashion whose monopoly is rooted in media. Therefore, her stance is as a communicator, whose role is to promote actualities in the fashion industry whilst dictating its future. This statement emerges from the “September Issue” documentary which highlights the most significant issue of Vogue Magazine, for advertisers and readers alike, as it communicates what has been deemed fashionable for the next season.

In this early 2000s’ media landscape, the internet was the future of fashion and forced a changeover in powerplays through the introduction of blogs and broadcasting which debunked the allure and mystery behind fashion. Communicators still had a responsibility to project towards and lead the future, however Wintour’s statement is ignorant of the other contributors to the industry. Designers are also instrumental in fashion, yet they often draw from the past to influence their future collections. Similarly, the role of consumers cannot be ignored as relapses in fashion from various time periods are usually derived from personal preferences and moments in popular culture that influence the trend cycle’s reversion. Acknowledging these other factors allows us to comprehend how limited this interpretation of what fashion is “always” about.

Fashion, for those in media will always be about looking forward when focusing on predicting and leading change in the industry. Best describes fashion journalism and fashion as “symbiotic” saying “Fashion journalists thus function as gatekeepers who often identify and anticipate dramatic shifts in the broader culture” (Best, 2017, 1 INTRODUCTION section). Therefore, fashion media cannot be disconnected from the fashion industry. As one of the most lucrative creative industries, it cannot be ignored that the main aim of fashion is to sell. Therefore, from an economical perspective, fashion is about looking forward to what will maximise profits. Overtime, fashion’s focus has shifted from a design focus to the need to accommodate advertisers. Hoskins wonders “Fashion is such a messed- up industry, yet where is the rigorous press criticism?” (Hoskins, 2022, THE FASHOIN MEDIA SECTION). It could be said that Wintour’s statement comes from a personal point of view as someone who leads fashion media and attempts to remain in control of the fast-paced industry. The Editor is known for her cold demeanour given the movie Devil Wears Prada which cemented her reputation as a fashion icon, the fashion icon. An article from the Guardian reviewing the film noted that the only difference between the fictional character was that “Priestly wears her dark glasses outdoors only” (Bradshaw, 2006), successfully depicting Wintour on a more extreme scale than that of the character. Since Wintour is “a Queen to whom everyone looked for direction” (Odell, 2022, “IN” VERSUS “OUT” section) fashion looking forward could be justifying her removal of features to remind others that as editor, her word is final “I think that’s just her nature. She just moves on” (Odell, 2022, IN VOGUE section). Wintour wasted no time resisting technology and clinging to media of the past, and instead welcomed the digital age as the future of fashion. Despite the rise in bloggers and influencers making fashion more accessible, Wintour’s decision to accept the changes continues to save the fashion media by always looking forward.

Fashion designers however often look back to pay homage to the past and reinterpret the possibilities of fashion’s future. Corner identifies designer Yamamoto’s work with having “a timelessness that makes them anomalous in an industry that insists on a constant turnover of trends” (Corner, 2014, THE FASHION DESIGNER AS ARTIST section). This could suggest that fashion is able to remain relevant by looking back and drawing inspiration from the past which is still predominant in present day. Corner however does go on to recognise that despite the consensus that fashion needs the past, Yamamoto’s designs “nevertheless point unequivocally to the future” (Corner, 2014, THE FASHION DESIGNER AS ARTIST section). Consequently, Wintour’s statement still caries weight regarding fashion design, even if it doesn’t encompass the whole design process; Wintour’s statement concerns fashions purpose which is to look forward. Similarly, Hopkins describes the design process as a means to “offer new insights and approaches as a means of remaining relevant and contemporary” (Hopkins, 2021, Understanding fashion section).

This opinion suggests that a limitation to Wintour’s statement is that it one dimensionally confines the purpose of fashion. Albeit fashion is about looking forward, but through reimagining the past since “fashion change may be understood as cyclic.” (Hopkins, 2021, Fashion as change section). Best indicates that such statements made by those in media could be a result of lack of understanding of the concept of fashion design and as a result “Fashion writing needs to enlighten on the intricacies of the clothes and designers’ creative vision” (Best, 2017, 10 FACING THE FUTURE: THE EVOLVING FASHION MEDIA section), it is therefore no surprise that Best admits “This requires knowledge of fashion history” (Best, 2017, 10 FACING THE FUTURE: THE EVOLVING FASHION MEDIA section). Therefore, Wintour’s perspective as a communicator of fashion is limited as it omits designers’ views that fashion must look back to design the future.

The role of fashion consumers also exposes the limitations to Wintour’s statements since individual preferences and culture can alter the purpose of fashion. Despite fashion media leading the future of fashion, Hoskins concedes that their priority is to cater to their readers as well as their advertisers (Hoskins, 2022, Magazines section). Therefore, even if leaders like Wintour express their opinion on what fashion is all about, they must also acknowledge the views of their audience and ensure that their opinions align. In 2009, Lent and Tour understand that “Customers also want to make a statement” (Lent and Tour, 2009, Chapter 7 - The emotional side of the purchase section) which is still relevant today as consumers tend to satisfy their current personal style rather than considering their future wardrobes, hence the rise in fast fashion; Fast fashion is focused on the present and ignores the effects in the future. There is however a majority in fashion who admit that conscious or vintage shopping is “vital for an environmentally sustainable future” (Corner, 2014, THE ADVANTAGE OF VINTAGE section). The overpowering voice in fashion media cries for sustainability and is echoed by those consumers calling for responsible fashion. It could be said that if fashion is always about looking forward, then it disregards past damage to the environment and is ignorant to its effects in the future. Moreover, the stance fashion appears to have taken regarding sustainability is to shun fast fashion and its consumers to ensure a sustainable future. However, sustainable alternatives aren’t accessible to the masses of working-class people which suggests that Wintour’s view accommodates the Vogue middle class woman. For many working-class individuals, fashion is not about creativity and style, but practicality and convenience. Balmain’s SS23 ready to wear show featured garments with a flaming print to question whether fashion is about aesthetics or impact as Rousteing wonders, “what will our world be tomorrow?” (Leitch, 2022) This indicates that fashion could be about looking forward, but only if it is looking to fix past errors. However, since Wintour begins her assertion with “fashion’s not about looking back” it could be said that this viewpoint does not encompass fashion’s role in climate change and what its future looks like.

The primary limitation of Wintour’s statement is its failure to accommodate all sectors of the industry when making such a generalised statement about fashion. Fashion encompasses media, design and consumers amongst others, yet this statement is only entirely true to media. At the time the statement was made, it could have been true, however the media landscape in fashion has evolved and no longer allows a single individual to determine the sole purpose of fashion.

(1303 words)

BIBLIOGRAPHY

The History of Fashion Journalism
Best, K. N. (2017) The History of Fashion Journalism. 1st edn. Bloomsbury Publishing

The Anti – Capitalist Book of Fashion
Hoskins, T. (2022) The Anti-Capitalist Book of Fashion. 2nd edn. Pluto Press

“The Devil Wears Prada” review
Bradshaw P. (2006) The Devil Wears Prada The Guardian

Anna
Odell A. (2022) Anna Atlantic Books

Why Fashion Matters
Corner, F. (2014) Why Fashion Matters. Thames and Hudson Ltd

Fashion Design: The complete
Hopkins, J. (2021) Fashion Design: The Complete Guide. 2nd edn. Bloomsbury Publishing

Selling Luxury
Lent, R. and Tour, G. (2009) Selling Luxury. 1st edn. Wiley

Balmain Spring 2023 Ready To Wear Leitch, L. (2022) Balmain Vogue Runway