Right, have been AFK for a while, have had a lot of catching up to on this thread alone
Haha... it always goes back to Dior Homme, doesn't it?!
It'd be interesting to know honestly how many of the people who have jumped onto the DH 'bandwagon' recently are doing so because of the mass commercialisation & expansion of the brand or because of the intrinsic artistry from the early collections.
And how much of these 2 factors/what balance (and sure there are other factors too, but lets say for now, one is the artistic side, the business-consumer oriented) first initiated the early DH phoenemenon?
A bit about me; i am of HK background (raised & residing in London), a sample of my wardrobe consists of Demeulemeester, Lang, Sander, Schonberger, Margiela, M+F Girbaud, APC, Delcour. Myself as well as a number of the early founders of the DH Group were already following Slimane's work from his menswear at YSL pre-Gucci acquisition. The creation of the DH project was something new, it was a very directional/creative approach for an established house such as Christian Dior, especially so with Slimane at the head of creative direction.
I also think one has to differentiate between simply those who are put simply 'logo/label whores' and those who actually appreciate the artistic creativity in the work behind the 'brand'. The whole ensemble played a large part for me, the creation of the 'flou' department in the atelier looking into the couture aspect of drape/movement, the staff that were recruited, the attention to detail (a couple of entirely hand crafted pieces in Solitaire, sequins sewn into the trouser pleat folds), the initial campaigns beautifully shot by the late Richard Avedon.
Sure that the power of the 'brand' Dior plays a factor in a consumerist respect, especially prevalent in the Japanese/Asian market as noted earlier on. But for a handful (well, more than that i hope) it also represents a lot for it simply being Monsieur Christian Dior's house; his 'new look' in 1947, a lot more socio-cultural for some of us. I'm a Francophile at heart!
Some people do simply buy according to label, but it goes without saying there are a number of us who do see the line and do realise what is and what isn't worth paying for. Especially so when the 'Bertelli effect' kicks in and quality decreases in addition to Arnault's commercialisation for the Euro1bn sales target. What typifies my purchasing regarding DH now is simply what i like the look of and what i don't, it has become less special and sure, the quantity i buy has decreased, moreso as the sizing marginally increases each day and i'm very skinny.
In terms of the business ideal, what started as a unique project concept amassed a great deal of attention which inevitably became highly desireable by consumers. Limited supplies resulted in high demand (sorry, i'm an Economics major haha) and thus with brand power, the selling and desire for the good (in this case, the overall lifestyle image) furthered the consumer cycle. Which in turns lead to a certain conglomerate shifting the once unique project ideal into a mass market entity having been established.
I'd like to see Hedi Slimane under his own label or doing womenswear. In fact, i'd want to see Alber Elbaz do mens.
Fade to Black pretty much sums up HK. It is a past-faced, money driven city with the citizens placing heavy emphasis on wealth. Fundamentally due to Chinese nature to have 'face'; to be more endowed than one's peers, more than often in material wealth. I like the place for a vacation, its a dynamic city but one i feel which lacks artistic creativity in the citizens.
(One may regard Tokyo be creatively and artistically driven, but imho and experience it is a place where creativity and freedom is probably the hardest thing to attain. Come on, a place which places social stigma on not owning a LV Monogram Canvas item? Where a large majority of fashion magazines are essentially catalogue listings and the media with a few select icons dictating what the masses wear. And sure enough, the masses will obey, they will follow. What would it take to truly/ideologically different in Jpn/Tokyo, by basis of street fashion culture, how much further?)
Anyway, that can be discussed later. I dont see HK as a city without any aesthetic culture, the ArtWalk event is an example, HK cinema is another heavy example. Wong Kar-Wai/Christopher Doyle anyone? What is typical of HK youth is that exemplified in contemporary Japanese culture, the following of the mass, mass commercialisation (even when its in a very micro/underground level with small brands - Bathing Ape being one example). The hoarding of Y-3 and Bernhard Willhelm (yes the latter being a strange one huh? A 'small' brand, but again, highly popular because of the media).
Anyhow, my 2 cents so far, go easy on me
In need of sleep, its 6.45am..!
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