FASHION’S COMFORTING and familiar constants tend to repeat themselves. The September issue of Vogue will always be heavier and more unwieldy than last year’s. Betsey Johnson will again strap her models into sky-scraping heels that would make even the fiercest drag queen hit the panic button. And the Urban Outfitters catalogue will forever be prettier than the actual clothes contained within. But perhaps the most important sartorial tradition of all is the creature of habit that is the industry itself.
This spring is no different. Make a beeline for your mother’s closet, because the ’60s are back (again) — though not in the way you might expect. The latest straightforwardly feminine silhouettes hanging on racks in fast-fashion outlets and local boutiques have little to do with the messy-chic oeuvre championed by the Olsen twins and modern-day Edie Sedgwick (a/k/a Corey Kennedy).
On January 31, The New York Times Style section ran a piece titled “The Newly Uptight,” in which writer Ruth La Ferla took stock of fashion’s future, citing a return to “a meticulously tailored look” that evokes the timeless elegance of Jacqueline Kennedy and Grace Kelly. La Ferla observed a number of trends coalescing to bring about a new-old conservative vibe. It wouldn’t be a stretch to say that this sculptured, tailored aesthetic is being mirrored everywhere, from the runways to pop culture to politics. It’s on television, seen in the success of AMC’s Mad Men, in which sexy secretaries working at a Madison Avenue ad firm in 1960 type their bosses’ memos in bouffant skirts and tie blouses. And it’s also reflected in the socio-political sensibilities of citizens anxious about a possible recession at home and international policies abroad.
So how did we get from trapeze tops to two-button blazers this time? The first place to start hunting is in fashion’s dual kingdom of the damned and the glorified: Hollywood, of course, home to a bloc of badly-behaving “It” girls. Remember that image of Lindsay Lohan in her half-unzipped gray hoodie, blind drunk in the front seat of a car? Or the endless TMZ.com snaps of a bleary-eyed Britney Spears sloppily flashing her lady bits to the paps? It seems that the styles, and behaviors, of these young women have a common thread: “carelessness,” says Tina Burgos, co-owner of Stel’s on Newbury Street. “One of the most obvious ways to rebel against this attitude is through personal style.”
It’s true: you probably wouldn’t expect a woman channeling the Princess of Monaco, shoulders thrown back in a Jackie O suit, to suddenly shave off all her hair or puke into the nearest trash can. And so, just as crop-tops and low-waisted jeans eventually gave way to voluminous fabrics, now, whether a conscious or accidental decision, designers have made it their business to discipline the young ladies the only way they can.
“If ever there was a time in Hollywood to inject some modesty into the way young stars are dressing, that time is now,” says Martha Hilfiger, co-owner of Newbury Street’s Dress, which will be introducing pieces reminiscent of the 1950s, such as 3.1 Phillip Lim’s high-waisted skirts and blouses, and shifts and belted sheaths from Wayne (by new designer Wayne Lee). At the couture level, Hilfiger points to Prada, Christian Lacroix, and Chanel, all of which continue to play with ’50s and ’60s themes.
Of course, the new muses paying homage to throwback archetypes aren’t always as refined and poised as they appear. Amy Winehouse’s fantastically high hairdo and neo-soul singing don’t cover up the perma-shit-show mode she’s been living in for months due to her battle with addiction. Similarly, Lily Allen’s cute polka-dot skirts do little to redeem her potty mouth and penchant for trash-talking. But on their good days, they look great. And however you cut it, both performers have, through the sheer ubiquity of their music and celebrity, been instrumental in the shift toward retro-femininity.
And if the Allens and Winehouses of pop culture can’t merge the structured restraint of their clothing with their public conduct, the cycling of trends suggests there are plenty of upstarts clamoring to take their place. Yet considering our nation’s current political landscape, there’s a chance that being fashion-forward won’t require simply having the look, but acting it, too.
Burgos argues that the industry is likely to move in a more tailored direction as it mimics shifts in our nation’s affairs. “It will be interesting to see how the American political landscape, particularly in this major election year, will affect fashion for young women,” she says. “Particularly with Hillary Clinton in this race, female empowerment will continue to be a major issue over the next few months. I really believe that there is a desire for women to prove that femininity is both powerful and sexual.” At Stel’s, Burgos and her colleagues plan to offer a varied selection of pulled-together pieces. Alexander Wang’s shrunken, tailored jackets and wide-legged trousers are one example — Burgos says his take on the classic and feminine is reminiscent of Yves Saint Laurent’s original pantsuit for women. The boutique will also carry Reyes by Jose Ramon Reyes — tennis-inspired knitwear and preppy knit dresses that romanticize Americana sportswear.
This season’s body-hugging outlines probably won’t be as welcome on a Sunday morning after a huge brunch, when a pair of leggings and a babydoll dress still retain their treasured go-to status. But spring’s grown-up shapes can help make a transition from flyaway to effortless chic with just one or two pieces. “One thing that’s nice about the more traditional clothing is that you don’t have to work as hard in some ways — it does the formality for you,” says Rachel Hirsch, owner of History in Porter Square. “It’s nice to put on a very tailored, beautiful, nipped-in waist, ’40s jacket with a pair of jeans and a T-shirt and suddenly have them look quite presentable.”
At History — which carries plenty of late ’40s and early ’50s pieces with extensive tailoring — Hirsch says she often starts customers who are inexperienced wearing vintage with mid-century items. “The fuller bust, nipped-in waist, and fuller hips are pretty much universally flattering,” she says. “They give you shape if you don’t have it and help all your pieces get put where you want them to be without a pair of Spanx.”
Judging by the collections debuted at Fashion Week in New York recently, designers are taking the notion of youthful maturity even further. Philip Lim sent out ladylike coats and dresses in ethereal and cerulean blues; Peter Som, Chris Benz, and Tracy Reese displayed a quirky French flair. If the industry’s current worship of old-fashioned civility is a retreat, then one couldn’t take a creative step backward with more grace. There are worse things than leaving a party looking as though you were the girl of honor instead of the girl who just crashed it. @
