Fashion weeks serve as glimpses into the future, revealing the upcoming trends in our wardrobes. Yet, despite their forward-looking nature, runways are at times influenced by the present and by specific current events. In February 2022, when Russia invaded Ukraine, a few fashion houses expressed their support and solidarity to Ukraine. Balenciaga's Demna Gvasalia, for instance, presented a runway amidst a symbolic snowstorm, reflecting the resilience of people facing challenges, with Ukrainian flag colors featured in the yellow tracksuit and the blue dress that closed the show.
As time passed, attention shifted away from the conflict in Ukraine, while a new crisis emerged in the Middle East in October. The Israel-Gaza conflict unfolded after Hamas' aggression and Israel's retaliation, evolving into an escalating situation. Yet the recent menswear and Haute Couture shows barely addressed this conflict. Fashion houses largely remained silent, possibly due to the divisive nature of taking sides and the potential repercussions on their image and consumer base.
Noteworthy exceptions include Rick Owens, who used elongated alien-like silhouettes to comment on humanity, and the Berlin-based brand GmbH, led by Benjamin Alexander Huseby and Serhat Işık.
In their "White Noise" S/S 22 menswear collection, the duo collaborated with the queer Palestinian label Trashy Clothing to create a "Free Palestine" top, so the focus on Palestine in their new collection seems to be a logical progression.
Huseby and Işık, both second-generation immigrants whose parents left Turkey and Pakistan and moved to Germany, were deeply affected by the events in Gaza and feel also troubled by the rise of Nazis and fascists in Europe, along with issues of Antisemitism and Islamophobia.
Their new collection, titled "Untitled Nations" (A/W 24) serves as a protest against nationalism. During its presentation in Paris at the end of menswear week, the designers, wearing Palestinian keffiyeh scarves, read a statement advocating for peace in the Middle East and worldwide. This bold stance contrasted with the general silence within the fashion industry regarding the ongoing conflicts.
"As fashion designers, we're normally left to express our thoughts through clothing and leave the rest to the imagination. But we live in dangerous times, where precision of words is needed," Serhat Işık stated.
The designer added: "We have called for a ceasefire now, a release of all hostages, a free Palestine, and an end to the occupation – all demands we think should be uncontroversial. We have read, we have discussed, and fond bonds in direct actions, and even gotten arrested for activism."
"In Germany, where we live, we have seen in the last month dozens of cancellations of artists, writers and musicians for not aligning with German state policy. The majority of those cancelled are Palestinian, Jewish, Black or Brown. We should all be terrified when Germany starts, again, silencing Jews and other dissenting voices," Benjamin A. Huseby also explained. The duo then proceeded to quoted Arundhati Roy's 2002 "Come September" speech.
Within the collection, tensions between traditions and modernity, politics and fashion were creatively resolved through meticulous tailoring, with the Palestinian keffiyeh serving as the inspiration for boxy jackets in the distinctive red, green, and black hues of the Palestinian flag.
The design duo did an in-depth research for this collection, exploring Palestinian history and symbols as well: notably, watermelon prints appeared on T-shirts; the watermelon was also the main inspiration for one sweater.
Historically employed for its colours (evoking the Palestinian flag) as an unofficial symbol of resistance in Palestine, the watermelon emblem has resurfaced on social media since October.
The collection featured a range of styles, including bomber jackets, wool jackets with curved cuts, asymmetrical crocodile dresses and sweaters that seemed to integrate Arabic window patterns on the front and on the shoulders.
Hoodies showcased prints resembling a distorted United Nations-like logo, with "Untitled Nations" boldly displayed on the back. Multi-pocketed bombers and shirts hinted at a reinterpretation of Schiaparelli's "Cash & Carry" theme or maybe at military gear.
The collection incorporated hand-embroidered keffiyehs, sourced from the Jerash "Gaza" refugee camp in Jordan and provided by the refugee-run brand SEP.
Cultural appropriation is a common occurrence in the fashion industry, but rather than appropriating certain symbols and traditional elements, GmbH approached them with respect.
In their statement, they indeed emphasized their interest in the "political and formal possibilities of fashion as a medium of intercultural exchange." This acknowledgment reflects a conscious effort to engage with cultural elements thoughtfully and ethically.
Fashion should be a catalyst, sparking passions, love, criticism, and debate. Unfortunately, it often fails to do so. The amalgamation of celebrities, influencers, and even paying millionaires at fashion shows has indeed shifted the focus away from meaningful critique towards condescension and enthusiastic approval of whatever sashays down the runway.
Most collections lack two crucial elements - a compelling narrative and a sense of rebellion. In the absence of iconic figures unafraid to speak out (think Vivienne Westwood) or shock ans surprise viewers (Alexander McQueen), the industry has devolved into a spectacle of the most extravagant and peculiar moments that happen in the front row, resolved in an obsession with the Instagrammable rather than a dedication to meaningful protest.
The recent menswear collections in Milan, for example, while impeccably designed, exuded a cold and clinical aura, devoid of a narrative. They seemed to beckon consumers to buy into a superficial perfection, aiming for an idealized standard unachievable to most of us.
Fashion possesses the power to be political and to engage in discussions about heritage, culture, history and traditions. The key lies in maintaining awareness as GmbH have managed to do in this collection that reminds us that, in these perilous times, instead of closing our eyes and obliviously dancing on the metaphorical Titanic, we should use fashion for social and political commentary, as a platform for reflection and even as an opportunity to bridge differences.
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