Social media has not only changed the way we consume fashion content; The way we criticize it has also completely changed.
While the opinions of established critics once reigned supreme, now online critics and their controversial views are increasingly changing the world of fashion criticism. Indeed, respected experts such as Tim Blanks, Vanessa Friedman, and Robin Givhan (although she has since gone on to cover the intersection of politics, race, and art) are known for their incisive He is still justly respected for his analytical talent. But some fashion enthusiasts have noticed that the typical commentary season after season in the form of runway reviews and show recaps isn’t as strong overall as it used to be. They’re turning to Black Twitter to find more of the unfiltered, uncensored fashion commentary they crave.
fashion archivist etc. kim danielsStylist and Founder of Black Fashion Fair antoine gregorywriter and archivist Rashida Renee Ward Their no-holds-barred approach to fashion in the digital age has made them a bona fide internet force. (More well-known examples include journalist and Perfect magazine editor Pierre-Alexandre Mpere.) @pam_boy— and fashion historian shelby ivy christiewho is also a notable Black fashion critic who influences the industry on the platform, did not respond to requests for an interview for this article. ) The latest runway shows, fashion campaigns, and creative director changes are the talk of the town. For example, unlike prominent critics and prominent critics with ties to traditional publications, people like Daniels, Gregory, and Ward answer to no one. All their opinions and influence are their own.
Antoine Gregory, Founder of Black Fashion Fair
”[Publications don’t want] “It’s to rub the brand the wrong way, but we’re on social media and Twitter and we’re not looking for brands to sponsor us,” said Gregory, who is also a fashion stylist. Rich industry knowledge and commentary told BAZAAR.com: “I think publications need to speak out a little more kindly. [when reviewing fashion]On the other hand, if I don’t like something, I’m going to say it and tell them why I don’t like it and why it’s important to discuss things honestly and openly. ”
He continued, “I feel like critics aren’t critiquing things anymore. They just say, ‘What a beautiful color palette.'” Yeah, that’s a nice color palette, that’s it. True, but the collection is bad. But they don’t say that part. ”
Fashion commentary via Twitter also provides deeper insight into the historical inspiration behind specific collections. Daniels is known for sharing vintage images that showcase moments from the past where trends started by Black celebrities and public figures would end up on the runways years later. But Daniels said that while Twitter is an imperfect medium for in-depth commentary on fashion, its immediacy and broad reach can help Black people interested in the industry feel seen. I believe it.
Kimberly Daniels, Fashion Archivist
”[The platform] absolutely [feels like] It’s a community because there’s very little space for us anywhere else. We have to seek each other out and support each other,” Daniels says. [contribute to these conversations] These are the people who truly deserve to bloom. ”
Ward echoed similar sentiments, saying that even non-professional critics, such as fashion bloggers and influencers in the early 1980s who regularly published commentary on runways season after season, were no match for luxury brands’ PR lists and gifts. He says that he was captivated by the authoritative charm of the artist. It ultimately dramatically changes how people in the public eye choose to comment on the show.
“Look, this is the industry,” Ward says. “You know what happens, you’re in a major fashion magazine [and you can’t really say that] Couture is kind of terrible or boring or whatever. That’s why people trust Sally Singers all over the world. Because they’re used to reading these — I don’t want to say clean — almost sterile types of show reviews. ”
Rashida Renee Ward, writer and fashion archivist
Ward says that even some fashion bloggers can “start out really critical until they start getting on certain PR lists” and then water down their coverage. “Many of the people who are on fashion-related Twitter or have a big online career are, for example: diet pradathey are not journalists. They don’t come from that world. They are not writers. They’re just doing this as Kiki. I feel like everyone needs it [involved]Because everyone comes from a different perspective,” she says.
According to Ward, how you view a collection or campaign is all about perspective. It’s about who you are, where you come from, and what you want to feel after looking at a designer’s latest offering. Online critics like Ward can provide the context behind hot brands and trending items that casual fashion enthusiasts might overlook or underestimate. “I may not like something, but [brand’s] “You might think this Max Mara collection is boring, but my mom thinks it’s the most genius thing she’s seen in the last 15 years,” she says.
Ward has found a community of loyal fashion followers through platforms like Twitter and Tumblr, but she finds them more used for sharing fashion images and hot topics than for critiques. Masu. ”[Twitter can be] It’s a double-edged sword because it can contain a lot of misinformation. [There are] People who don’t understand the cultural context, people who don’t really understand what artists and designers are referencing. How many times have I seen someone post a side-by-side comparison, talking about something they copied, when what they were comparing was a 1940 Madame Gres pleat? ”
Gregory, Ward, and Daniels have seen the influence of online style commentary evidenced in many ways. “When I saw my thread turn into an article without any of my opinions, [that’s when I noticed my impact]” says Gregory. “You’d see your opinions shaping up for other people. That’s when I thought, ‘Okay, wait a minute.’ Let me rethink what I’m doing. ”
For Ward, it means celebrity stylists have access to her fashion archives through her “flawless” stylized Tumblr site dedicated to fashion models like Naomi Campbell and her Tweets commemorating standout archival looks. was to sneak in and see her draw inspiration from her work.
“What made me realize that this was out of control and that they were really just using me as a resource and not giving me anything was that one of Kim Kardashian’s stylists looked at my blog and went to Versace. That’s when I saved all the photos through the tag and gave them to Kim Kardashian as a reference for her to get those looks,” Ward explains.
“I know because she’s a friend of a friend and follows me. … She gets called out for taking pictures from me and sometimes credits me, but those pictures were posted in 2007. It’s from a defunct photography blog that hasn’t been around since 2007. I was pissed off about it, so I posted a video about it on Twitter and it got about 3 million views,” she added.
Our creative outputs do not have to reside in these historically empty spaces to be considered art.
To create a more inclusive fashion industry, there needs to be recognition, an acknowledgment of the influence of Black culture on the fashion world as a whole, and a microphone to show Black critics that they are heard as well. and need to be given a platform. Case. It remains to be seen whether the industry will keep its pledges from 2020 to hire more Black creators and promote more Black talent.
“Our work should be seen [and reflect] “We are multifaceted, beautiful people, and our creative output doesn’t have to be in these historically white spaces to be considered art,” Ward says.
For Gregory, passionate fashion criticism seems like just a thing of the past. “I don’t think publishers are willing to invest in another voice like Givan or Vanessa Friedman or Diana Vreeland,” Gregory says. “These are people who wrote about fashion in such a beautiful way that we don’t appreciate it anymore, we don’t value it anymore, we don’t really understand it anymore, because you almost have to love fashion to talk about fashion. I think you need to research it for reference, as they do. ”
Gregory added: “I’d like to see real fashion criticism again, because I think it’s absolutely necessary. Fashion is no fun if you don’t play it safe.”
Bianca Betancourt is the culture editor at HarpersBAZAAR.com, covering everything from movies, TV, music, and more. When I’m not writing, I love compulsively baking cookies, relistening to the same early 2000s pop playlist, and stalking Mariah Carey’s Twitter feed.
