Fashion. At one end of the spectrum it's a sense of the popular now, what the average person on the street is doing or wearing. At the other, it's an unobtainable aspiration, a super-glossy exploration of colour, pattern and look that fuels a global industry of designers, journalists and store owners.
Image by Lara Jade
I've been getting a little confuddled recently as I've tried to consider the digital landscape and fashion media. The confuddlation has been based a little bit on my own experiences as an intern at both a fashion magazine and a fashion PR house, but mainly on my personal consumption of magazines and blogs and on my experience now as a designer of website front-ends.
I've been trying to work out if there's a future for the unobtainable face of high fashion. Obviously all media is changing and has been for some time, but I can't decide whether the trends to comment, share and appropriate online media are severe threats to fashion, or whether they're actually powerful opportunities .
Picture by Ivan Rodic
Either way, how can the industry react in the long term?
It's been amazing the past few seasons to see fashion week live shows streamed, the street-style shots of the show guests, and the resulting chitter-chatter on blogs and twitter. If I'd wanted to, I could probably watch a show and post a write-up quicker than the actual journalists there, share photography with my friends and make the brand in question an extension of my online persona. And much like the way it's seemed to go in online design circles, maybe I'd become recognised for choice fashion finds and my unique perspective on them.
But isn't that the complete antithesis of the way the industry is currently set up? In an interview with a bunch of flowers on SHOWstudio's website, Mandi Lennard (Fashion PR guru) says "it's all about getting your clothes in W magazine". One of the staff at the place I interned at said clients worked with them because "we just know".
There must be something in SHOWstudio's belief that "showing the entire creative process - from conception to completion - is beneficial for the artist, the audience and the art itself", but I don't see yet how the established world of specific, strategic and nonchalant placement for artistic and commercial motives will adapt to the world of enthusiastic personal oversharing and appropriation.
It seems that to try to seed anything in either space will be counter-productive in the other. A glamorous high-concept idea (and its price tag) will be commonplace once it's spread across tumblrs and ffffound the world over, and any innovative grassroots fashion movement will become irrelevant once it's been taken up by the mainstream media and redistributed back across the internet.
This is all before you consider what the internet has done for production itself, in terms of allowing greater numbers of photographers, designers and writers to publicise their own semi-professional efforts outside of traditional avenues.
I don't really know what my response or outlook on the situation is, except to say that it seems a lot foggier than the music or news landscapes, and decidedly less clear than the fundraising and charity spheres that I'm working in at the moment.
It's a shame, as it would be nice to mix them all up somehow. Isn't that what the internet's for?
Maybe it's just a challenge.