Flashback: Look Back At Men's Fashion In 2015

WORLD WORE ‘15

Look back in wonder at the year in men’s fashion trends and themes in this flashback. By Daniel Goh

This has been a big, dramatic year in fashion; Not only did men’s fashion thrust forward decisively in looks that completely broke from the past, it zoomed ahead without nostalgia or sentimentality for eras past, and menswear is finally freed to move into the 21 Century. 

Doherty, whom no fashion can now save, looking very much like Stephen Fry.

If Only Pete Doherty Was Slim

There was a sense of déjà vu when Pete Doherty, now a pudgy uncle at 36, appeared at Saint Laurent’s show in Paris last October. The former rake thin Rimbaud of rock (and former squeeze of Kate Moss), who was the “thin-spiration” behind Saint Laurent’s seminal Spring 2015 collection, appeared to be twice the size (and age!) of his former self (albeit still sweaty, unwashed and clutching a pack of cigarettes like a ball of used tissue). Nonetheless, the skinnier than thou models, squashed into frayed jeans and stovepipe leather leggings, a flail of beaded chiffon or a shrug of shrunken jacket recalled the poet/punk of The Libertines in his fey days. If only he were thin again.

In this hit collection for Saint Laurent, Hedi Slimane seemed also to be citing his own gloriously slim self, and by the way celebrating the marginalized, the freak, the fragile, the queen, the poet, making a case of relevance for the disagreeable, disgruntled, and preternaturally sour. That such a stance actually strikes at the heart of, and is a comment on, the happy, shiny hordes of Instagram, the hordes that have clicked their approval in waves of “Likes”, seems to be lost on the Social Media generation. This can only prove that the Social Media generation is dumb and lost and that Slimane is beyond cynical.

(Spring/Summer 2015 examples: Saint Laurent SS 1 8 16 17 38 46 53 61 65; Lanvin SS 8 10 14 23 38 43)

Part 1 of 4 - Part 2 will be posted up later

LOOKING FORWARD TO 2016, STAYING POSITIVE

It’s hard to be positive when the world economy is in the doldrums and promises to be bearish for next year. Gold is down, and property prices are falling in Singapore, as they haven’t been in a while, always a bellwether for how things are going. Just look around you – people aren’t shopping even though it’s strenuously promoted at this time of year, and the beautiful malls, decked up for a budget Christmas, are empty.

The year woke up to the passing of Lee Kuan Yew, the defining Big Daddy of Singapore, and thence ensued a long period of mourning and a collective pall. It reflected a global gloom, a sense of the world slowing down, growing old and infirm. The China Boomtown seems to have faltered (if not actually stopped), inspiring a sense of foreboding and uncertainty. Political refugees East and West are being made homeless and stateless, towed out inhumanely, to sea. Not satisfied with systematically destroying a trail of 3,000 year old monuments of human creation in one shocking weekend of barbarity, ISIS followed that up with killing sprees in Paris. In the region, the barbarity of massive forest-clearing goes unchecked, a shocking crime against nature and humankind: global warming ignored, endangered flora and fauna wiped out forever. Then there is the specter of the rise of religious hysteria – in Aceh, gay sex is punished by severe and public whipping; Bangkok is bombed by terrorists. Closer to home, the scandals of City Harvest Church and 1MDB are riveting precisely because of their all-too-human, all-too-close nature.

The wisdom of Buddhist dharma would have us take all this in our stride and accept the realities with optimism. How? Each of us must stay positive and move ahead, work on your causes, fight the good fight, for if you give in to negativity, then all truly will be lost. There is still hope in every situation, but only if you work actively as a living example, a lesson, and a guide. Surround yourself with positive people, people with love in their hearts and clarity in their heads. Don’t give in to the stupid, the morally lazy, and the materialistic. Most importantly, focus on the present and release the past into the past. Learn to live in the present moment.

The haze is gone. 

Singapore Diva Tracy Huang Sings Again

PEACHES AND CREAM
One of Singapore's earliest pop successes, Tracy Huang has survived the vagaries of the industry by shrewdly shifting her act to the right places at the right time. 
Daniel Goh  fathoms the woman and her image.


"Fat, fat," says Tracy, slapping her thighs. "Fat, fat. I've put on weight,. Three pounds. Fat, here," she says, cupping her cheeks. She lifts her arms and flaps them, making the flesh on her alabaster-white upper arms jiggle. "Fat, fat, do you see?"

Tracy's preoccupation with weight, her looks, her age is understandable. After all, her feminine and fashionable image has always been a strong selling point for her albums. As such, these vanity concerns, inherent in most women, must seem even more vital to Tracy. But today, just for the moment, Tracy, relaxed and light-hearted jokes, "I'm 28, two years older than Alan Tam!" Later, she would give me her age as 39.

Tracy Huang is folded neatly onto a black sofa in the photo studio. She's just completed a photography shoot, part of her efforts to promote her new album Traces of Love, but talk is not about the album. There is nothing so crassly commercial about Tracy.

Even relaxing, her legs are elegantly crossed, ending in pointy, stiletto-heeled ankle boots. She's wearing a two-year old Azzedine Alaia: A black stretch one-piece with a white patent leather belt. "It gives me the illusion of height," she says.

Her hair is straggly now, and is loosely tied back; her eye make-up has run a little, there are black smudges; her lipstick has bled into a crooked pout. Plumes of smoke from her cigarette surround her like an aura.

Tired and slightly dishelleved, even while chain-smoking Virginia Slims, Tracy Huang still exudes a glow. Her skin is not only just fine and creamy white, it has a translucent, jade-like glaze, like rare Song china.

As Tracy talks, her small, white hands flutter about her in arabesque, like twin doves. "Hands are important," she says, flipping through the lyric pages for her new album cover until she finds the illustration of her silhouetted hands, reaching for a bird on a branch. "Look at this picture, I like this very much. Hands can express so much. You don't see my face here at all. But it's me."

Her small, flower-like hands. They are not money-grabbing hands, nor dish-washing hands. No, these are the hands of a princess. I tell her so. "Oh, but I'm not a princess!," she says, laughing. "More like a Cinderella. My father was from Guangdong, a military man, a colonel, so he didn't earn much. My mother was from Shanghai. When they came over to Taiwan from the mainland, they had absolutely nothing, not even a roof over their heads. We were very poor.


"When I was young, I had to help my mother do all the chores. I was the oldest, I had to take care of three baby brothers. All I can remember of my mother from those days was that she was always cooking, cleaning. She'd give me some money and I would have to go to the market to buy vegetables. And I had to cook after school.


"I still found time to play, somehow. I ran around barefoot. I have memories of a little barefoot girl, piggy-backing one of my brothers – maybe that's why I'm so short and all my brothers are so tall!


"I remember one day, while out in the open fields, an aeroplane flew over. At that moment, I made a promise to myself that I would be on that plane someday. I would fly out into the world. And it was a big wish, for a little country girl like me."


She continues in a rush of words; she is enjoying the reminiscences. "Singapore put me on that aeroplane. I was discovered by a talent scout from Neptune Theatre. Here I was, a Taiwanese singer singing English songs – wow! What a novelty, you know. I was billed as 'Angel from Taiwan' at the Neptune!"


That was in 1969. The Angel from Taiwan took flight. Tracy appeared in countless TV variety shows and eventually recorded her own albums, mainly sentimental ballads and cover versions of Olivia Newton-John hits. Over a 43-album career, Tracy established herself as a major star in Singapore, Hong Kong, Taiwan and China. Now she has set her sights on Japan with her album, consisting of English songs by Dick Lee.

Not only was she a major recording artiste, Tracy was also a style icon of the 70s. The image conscious artiste embraced every 'look' that emerged – from frosty purple eye-shadow to padded sweaters, from tattooed eyebrows to cowboy shirts.

The correct 'look' no doubt contributed to her enduring popularity, but she attributes her success to a determination to better herself. "I want to learn something new everyday – then that day is not wasted." And indeed, there were many occasions during my meetings with her when she whips out a little electronic organiser and enters all sorts of information, with a great urgency: names, numbers, movies to see, authors to read, phrases, ideas.


"When I was in school, I only studied music and Chinese folk dance – these were subjects thought to be more befitting to a girl. I learnt to read only after I left school. When I first came to Singapore, I had no friends or family. There were long spaces of time when all the friends I had were magazines and journals and books. I read so much during this time. And all those English programmes on television here. Education is the world around you. It does not mean that if you go to a university you become educated. A lot of people don't realize that experience is so important – you can learn from the people and the environment. I feel that my education is still going on, never stopping."

But something that Tracy feels she has not learnt enough of is studio production and other technical aspects of recording. So last year, she formed her own production company in Taiwan called Inner Music. "I'm at a turning point now – or rather – I'm in a period of flux. I feel that Tracy, as an artiste, is fading out and Tracy, the producer is fading in."

Her energies, and her accumulated knowledge and contacts in the music industries, are now concentrated in production. "It is not that I don't want to perform anymore. Working behind the scenes on a recording is also like performing. What's on show is what you produce, is how Tracy sees it. Inner Voice is where she put together her last three albums – of which two became award winners and hits. Tracy is also casting about for new talents to groom, record and promote.

Next year, in her role as producer, she will launch a 17-year-old Singapore girl, Gina Tan. There are several uncanny similarities between Tracy and her protégé : Tracy herself started her musical career at about the same age (at 16, Tracy was already singing at the American Club). Gina has the same sort of demure, feminine beauty that has served Tracy well; she sounds remarkably like Tracy. They sing like they look: all peaches and cream. There is tinkling clarity in their singing, there is a breathy languidity.


"Also, I really want to act. I really feel like making a movie, something meaningful. Maybe it's a bit late. But I was really inspired by my experience doing the music video which Wong Kar Wai directed."

The video for her Mandarin number entitled Making You Glad has generated more than the usual attention because it features Tony Leung, the star of The Lover.


"All the reporters keep asking me about it, as if Tony Leung was the main thing. At my press conference a reporter asked me if I felt flattered and thrilled that I had Tony Leung to act with in my video. Just imagine.


"I replied, 'How so?' Tony Leung should be the one to be flattered and thrilled."

First published in 8 DAYS Nov 28 – Dec 5, 1992 edition, as a cover story

HAZY DAYS PREDICTED FOR FASHION

FIFTY SHADES OF BLEAK

If the on-going Spring collections are anything to go by, the future of fashion is looking decidedly bleak, vapid and yes, heading nowhere fast. By Daniel Goh

As fashion becomes increasingly democratic (with every click of the mouse, a new fashion star is born), with the unstoppable tsunami of digital media, the traditional top-down fashion pyramid is being turned on its couture head. Now, fashion trends are filtering up from the new media to the labels, rather than the other way around. This is detrimental to fashion and style, isn’t it? Designers don’t dictate trends, or create fashion anymore, the masses do, with mouse in one hand, and camera phone in the other.

The visionary Fashion God is dead, long live the Influencer. The fashion industry has always been deeply rooted in the cult of the personality, for isn’t fashion about individuality and taste? Now it is all about digital technology, and the information it generates about what people want – crowd-sourced trends, anyone? Every aspect of the industry used to be reliant on people rather than machines — everything from hand-sketched designs to a stylist’s touch, where an individual fashion god’s subjective tastes can dictate an entire era’s aesthetics. Now, we’re seeing all aspects of the industry affected by new technology and providing data analysis and ‘tracking’. The effect is predictable, lowest common denominator fashion – merchandise cynically produced to appeal to as wide an audience as possible, which is ultimately more about money than it is about style.

And isn’t live-streaming killing fashion too? With an ever-wider reach, live-streams of runway shows, and other digital coverage and updates enable just about anybody to ‘attend’ the shows. The exclusive and elite nature of fashion is gone for good. The flattening of the fashion pyramid is now the landscape where those with an informed point of view, an educated vision are slugging it out online with the speediest clickers and illiterate, ignorant Instagram queens. And Instagram queens with legions of ghost followers are winning.

Although change is what makes fashion tick, the escalating speed of change in fashion is actually putting people off buying fashion. The constant demand for change and novelty leaves real consumers bewildered, and many have simply retreated into a world of casual Normcore basics - for good. Escalating change has also put an enormous strain on the creators of fashion who now put out eight or more collections a year, and quantity is surely detrimental to quality. Fashion cycles have become so short that a 1970s revival can repeat a towic in a mere couple of years! Add to that changes in trends wrought by celebrities and other influencers who reach millions and that’s a lot of fashion change in a nanosecond. Trends changing at a moment’s notice is making fashion an impossible, depleting race against time.

WE ARE WHAT WE CONSUME: THE WORLD AS A SUPERMARKET

We consume constantly: We spend every minute of the everyday consuming fuel and fauna and destinations. We also consume ideas, and time, and people. We consume the beautiful, the complex and the simple. Enter the supermarket – the cultural symbol of our vast appetite for all that is natural and unnatural. This is our orderly paradise, an Eden of plenty with the gifts of nature – in orderly, manageable stacks, packed odorless-ly away on foam trays and inside tins, and nestled in paper and clad in glass and cling film and caught in multiple plastic bags. Nature in all its variety and then some – season-less, region-less, hybrid, we want it all! This is how we consume science – cold-pressed, vacuum-packed, vitamin-enriched, flour-less, zero fat, zero calorie, flavoured, coloured, preserved, non-stick, instant. This is where we go to consume the comforting and the familiar, carbs and creams and food from the mega-brands of childhood. It is also where we find the exotic and the delightful – stuff our parents never heard of and never dreamed of consuming. And here, finally, in the supermarket, is where we go to find ourselves, and define our next selves. Better, healthier, thinner, more sophisticated – what we are, or hope to be, is what we consume after all.

PASSAGE OF TIME: Hermes's Must-See Exhibition

Becoming Again, Ran Hwang’s meditation on transience, is a fitting last exhibition at Third Floor, before the gallery closes for a one-year refurbishment. Launched in 2006, Third Floor is a non-commercial art space that promotes contemporary art by commissioning and presenting works in the Hermes flagship store on Orchard Road. Next month, the iconic Liat Towers flagship store closes for a one-year refurbishment. 

It is fitting then, that the last exhibition to show in that space, South Korean artist Ran Hwang’s Becoming Again, is a meditation on time. For indeed the 10 years since the inauguration of Third Floor (located on the third floor of the store) have flown by in a flurry of shows including works by Takashi Kuribayashi (in conjunction with the Singapore Biennale 2006), Laurence Dervaux, Heman Chong, Flavia Da Rin, Luis Terán, Rei Sato, Ming Wong, Yeondoo Jung, Ranjani Shettar, Christine Ay Tjoe, Shinji Ohmaki, Joo Choon Lin, Nadim Abbas and Aiko Tezuka. 

Becoming Again is an immersive multimedia one-work installation, comprising a curved wall of Plexiglas that forms a shimmering screen studded with buttons arranged obsessively as a conflagration of cherry blossoms. As you watch, the blossoms glow with projected, shifting lights, changing colour and shapes in a kaleidoscope of moods; a golden phoenix unfurls its wings to the left and majestically flaps through the cherry forest to the right before a climax of golden showers. The artist, Ran Hwang, swathed in a grey dotted shawl, guides us through the work, a meditation on the cyclical nature of time, the brevity and fragility of life, which is represented by the evolving flowers, first chastely pale, then prettily pink, then autumnal gold, then fading into the void as the cycle begins again. The mythical phoenix – a symbol of grace, infinity and renewal – echoes the transient nature of existence that is at the core of Hwang’s work.    

Why buttons?

Beauty can be found in the most ordinary, and the humble button is a metaphor for the ordinariness of human existence. I want to encourage an appreciation of the simple things we overlook in the frantic course of everyday.

Your work uses a feminine vocabulary, with materials from fashion such as buttons, pins and needles.

My first memories of art were of my father avidly painting Chinese inks and I must have been five or six, very introverted, grinding his ink stone for him. While he painted, I would be drawing by his side. I spent all my time drawing, all through school and one day I started making paper dolls and making Barbie dresses for them and all of a sudden I found myself with friends! I became very popular, and from that time I became very interested in fashion.

When I went to study in New York, I scoured the flea markets and I would find old Chinese pieces of embroidery, and that fascinated me. I found many beautiful used items that were abandoned, and that was when I first discovered the beauty in found objects. I began to use those to create mixed media collages. My first job in New York was interning at an embroidery company. One day in the office, I found a stash of abandoned buttons in a corner. These lifeless, worthless abandoned objects were like me. I was working for a living in the day and could only work on art at night and I identified with the buttons. And so I decided to resuscitate these beautiful discarded buttons as works of art. I began to work more and more with buttons and now I make my own buttons using a traditional Asian method. Each button is made of seven layers of paper, then varnished, made just for me.

You also utilize traditional Eastern imagery.

My dad, a writer who passed away more than 10 years ago, and who never got to see my works, had influenced me a lot in this. His paintings were traditional scholar’s subjects of bamboo and plum blossoms, etc. And after I moved to New York, I began to feel the pull of tradition and history, especially embedded in vintage objects. And if I need to categorize my work, then I’m a Post-Modernist; even if the visuals may be figurative and traditional, but the techniques and medium are contemporary, so this isn’t exactly traditional.

When did you decide that you would be an artist?

I never wanted to be anything else! Right from the time that I was drawing Barbie dresses with my father, I knew I would be an artist. Now I have a permanent team of 25 working for me full time, in both Seoul and New York. I have so much to tell after surviving some really challenging personal times. I’m really grateful that I can create the art that I do.

How does Singapore and this collaboration with Hermes make you feel?

Before I arrived, I thought I would only find buildings here and I was surprised to find so much greenery! There’s also this combination of old and new, the organic and the man-made that I find really interesting. The Third Floor-Hermes space was inspiring because the sides consist of glass. This potentially makes the projected image different during daytime and night. Due to the low ceiling, the work also fills up the exhibition space, so the viewer solely focuses on the work and gets overwhelmed by the scale of it.

Becoming Again is on till 31 January 2015.  Time: 10:30 am to 7:30 pm daily. Third Floor - Hermès, 541 Orchard Road, Liat Towers. Free admission

         

  

MARBLE, THE BEAUTIFUL STONE

A POLISHED BEAUTY

Marble carries a certain weight in our minds because of its elegant associations. We think of marble as the eternal building blocks of some of our most-loved monuments, an ancient Greek temple crumbling on a cliff, the lunar domes of the Taj Mahal spring quickly to mind in all their weathered nobility. And then we associate marble with the solidity of rich homes – perhaps your first encounter with marble was as a child, crawling on cold marbled floors, swimming in marbled pools and washing in marbled sinks – a hard knock or two was a lesson in how cruelly hard this stone can be.

    

By then, as adults, we would have learnt to appreciate the smooth marble hardness as a sort of beauty, perhaps the rarest of all beauties. A certain icy hauteur indicates a marble heart, remote and unknowable; a ghostly pale skin is said to be marble-like in texture and temperature. 

The poetry of marble is that it is both dead and ‘alive’. Marble has a unique translucence which comes from light entering its surface to produce a soft glow. This has made marble the favorite medium for Greek and Roman sculptors who brought galleries of models “to life”, and from them we have come to see marble as a symbol of refinement and art. Marble has the ability to take a very high polish, sanded to a high luster; After all, the word “marble” derives from the pre-Greek “crystalline rock, shining stone.”

Its varied and distinctive patterns make it decorative, and once you see it on a column in a renaissance palace, you will recognize it on Venetian paper, in a cupcake, a tub of ice-cream or a cake of eye-shadow. We are used to thinking of marble as being of a blinding white, but marble occurs naturally in a wide range of colours and can be green, yellow, orange, red and black, making it a perfect decorative material for architecture and interiors. 

Despite its many qualities, Michelangelo describes marble’s mysterious magic best: “The marble not yet carved can hold the form of every thought the greatest artist has. I saw the angel in the marble and carved until I set him free.”

TOP FASHION TREND 2014: ANIMAL PRINTS

NATURAL SELECTION

Animal print has probably always been in style in one form or another. Wearing the markings of jungle cats, zebra, giraffe, cow and reptiles is rooted in a atavistic yearning for our distant past, for a time when we were more connected with nature and depended more on our instincts, our animal senses, and our natural understanding of the wild environment. 

Animal prints are particularly alluring for us who live an air-conditioned existence, it's a sort of nostalgia for the time of caves and shamans and the colours of the wind. Perhaps this longing for the natural world is stitched into the threads of our genes, like a primeval ocean we can’t quite remember, yet whose undertow tugs on our subconscious hearts.

Azzedine Alaia design for Louis Vuitton

Animal prints entered fashion as a form of luxury and status. Throughout history, noblemen treasured animal patterns as they were exotic, and thereby wearing them was a sign of status. Traditionally, beautifully-marked animal skins were difficult to access, which meant that only the powerfully rich could afford them. A related aspect of this is that animal prints and skins were believed to convey a natural power to the wearer, like a sort of fashion homeopathy. Whatever its efficacy, not everyone has the prerequisite confidence to pull off animal print as they require an unabashed sense of self and an implied sexual accomplishment. Animal print advertises a feeling of “danger” as the one thing it isn’t is “safe.” Wear it, and you stand out from the crowd – and that is why animal print is often sold in small doses – not entire outfits. 

TOP FASHION TREND: Athletics in Fashion

What will mark this era out in fashion history will be that sports has finally taken the leap, from all its sweaty origins, locations and associations, into the arena of luxury fashion. Thanks to street-inspired designers, athletic-inspired fashion has finally grown up. The idea has leapt far from the starting point of that unsophisticated pair of sweatpants, a slouchy T-shirt and baseball cap; Over the last two years, the lines between Sportswear and Fashion have become blurred. 

Athletic influences are no longer immediately recognisable, and when they are, they have been made so luxe that you wouldn’t dream of wearing them to kick about. A sexier (narrow) fit, unexpected styling and unusual fabrics are used to balance out the relaxed, rugged silhouettes, making the new sports-style a modern hybrid elegance.

Traditionally, fashion and sportswear have been polar opposites: Fashion is refined, decorative and precious, while Sportswear was about function, technically advanced fabrics, and durability. The assimilation process began in the 1990s when fashion designers began to be seduced by massive sportswear brands into signing lucrative “capsule collection” deals, which helped the designers raise their profile and reach a mass audience; they also learnt the vocabulary of Sportwear, and brought their new-found knowledge to Fashion. Fashion sneakers, which today can be worn with just about anything, became just the tip of the Sportswear iceberg.

Fast-forward to now and hoodies and sweatshirts are flooding runways; But perhaps you had seen it all coming for isn’t fashion’s perennial T-shirt a sign of what was to come? Blame it on Casual Fridays (which became casual Every-days) and the raise of comfort over anything. Blame it on exercise becoming a fact of life for the professionally beautiful. Blame it on mega-rich, celeb sports stars. 

Sports-styling has come to invade the Fashion arena in a winning streak and there’s no looking back now, except in wonder at all those difficult, fussy, restrictive things that we used to wear in the name of fashion.

Be a sport won’t you?