Fear Is A Bad Stylist

Fear is a bad stylist

Fashion in the cityFear is a bad stylist

Previously, the city served as a stage on which to put a statement with his clothing. Today, this fashionable self-production is only to be found on the Internet, on the road there is boring neutrality. More courage would do us good.


Rarely do we meet people who have grown to go out on the street. Although one still pays attention to not to freeze, the view of the others plays only a role, as one does not want to be affected by it. This has not always been the case. Until the 1960s, the city served as a stage, demonstrating its status, and often even its profession, through his clothes. It was assumed, in a self-evident assumption, that the house was to be recognized by its own form in the role played in the social cosmos. In centers of money and power, such as certain districts of London, Paris, or Gstaad, such transparency may still be self-evident, but anonymity and inconspicuousness are the prevailing maxims in less fashionable but trend-relevant cities like Berlin and New York. The look there has nothing more to do with the luxury maintained understatements. Usually a coat is too elegant. Preference is given to pastel combinations, the appearance of weariness. Formless jogging pants, stonewashed jeans and battered chinos still remind the workers of revolutionary equality styles, but the underdog role is no longer to be believed. It is, at best, an attitude.

Since the vagabond looks of the Japanese “Atomic Chic” shattered the Parisian catwalk three decades ago, the reputation of the correct, makellosen, ironed and starched immensely relativized itself. Cracks, patches, frail seams and asymmetries, everything carefully demolished has become the signum of handmade. Consumption acceleration through  has led to the fact that dresses with wear- The lifetime it was written into became a value. It was no longer a matter of sensually pleasing the eye. On the contrary, one risked the snubbery in the interest of an intellectual satisfaction: one did not look good, but one reduced the ozone output. But this is a new kind of theater. After all, the consumption loss has not subsided, only clothes are now produced serially with the used.

We have become accustomed to walk past the people who meet us in the public space. Identity and attractiveness are reduced by deliberately unattractive combinations. The New York Trend Agency K-Hole christened the trend of 2013: a word amalgam of “norm” and K-Hole believed in discovering a gesture of consumerism, the enlightened abandonment of all vanity, and thus a new sovereignty. But, above all, the agency was the key to empathy in this all-round clothing: it was understood as a signal for a low communication threshold, for peace, openness, and accessibility.

In fact, discrete basics are used to drowning in the crowds, but they are hardly attracting attention. The reflection of one’s discrete optics and non-bindingness does not interfere with the exchange. You just have to put on a hat to find out how much more inviting and communicative  . But the city nome of the 21st century does not want to stand for fashionably self-confidence. He does not apply for the attention of the others, but lets his gaze slip down with a new arrogance of modesty. Feedback in the analog room is annoying. The path to social exchange no longer leads across the street. To the post office or to the supermarket one is incognito on the road and does not want to be disturbed as a physical residual of its media existence.

If there is still a public for spectacular fashion shows, then on the playing field of bloggers and social network users. There you can draw attention to the traditional vocabulary of fashion and enjoy the digital catwalk moment. The concentrated attention, which once met the respectable appearance in the public space, is today given to Selfie. For fashion bloggers, which thanks to their good relationship to fashion brands more and more remind of Tupperware vendors, such an appearance can assume the whole complexity of classical couture. From elegant gloves and belts to ruffles, high heels and elaborate make-up in women to bright colored jackets and hand-knotted ties among men, everything is there. Digital Megastars like Kim Kardashian, Paris Hilton and Amanda Lepore have even applied the opulence principle to the body’s couture and fascinated their followers with an endless photomanomanue of self-optimization through cosmetic surgery.

In  there is still something to be felt about the expressive drive that the dissolution of the dress codes in the sixties. At that time she promised the development of the individual: as many clothing styles as there were people, an explosion of imagination and creativity. Above all, in England, the new freedom was marked by a youth boom. Hippies, punks, techno-disciples and New Goths acted their subversive Weltanschauung in extreme masquerades. The sensibility and care of some punk creations could indeed compete with the haute couture. There is not much left of this missionary energy in the outfits of individual youth cultures. It seems rather as if freedom for fashionable self-development is felt as an imposition.


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