Beyoncé transcends fashion

Beyoncé transcends fashion

Copyright: Beyoncé

Copyright: Beyoncé

Beyoncé doesn’t just release an album; She unleashes a vision. Sometimes this comes as it was quite revolutionary in the 2017s lemonade, as a visual album in which the music is fully understood through a rich accompanying film. Last week, in the days before she passed out Renaissance, her first solo studio album since, she posted a series of images on her website: on a red velvet sofa with brown liquor in a Rocks glass, with metal spears protruding from a fitted black mini dress to form a plated bustier; seated in the middle of an empty dance floor in a lush silver chiton dress, one arm flung in the air and the other covering her chest; floating in a lime green lace dress with a face mask and a bushy trumpet hem of Mongolian fur in a sanctuary. The images are a nightclub fantasy that promises to evoke the feel of a decadent escapist liberation dressed to dance the night away. They set the tone for their sound, setting us up for house-inspired ferocity like a visual primer for their inquisitive acolytes.

Copyright: Beyoncé.

Copyright: Beyoncé.

Even more striking about these images is the lack of recognizable designer pieces. Many of the names are familiar: the lime green lace gown is by Alaïa, reimagined in a sour hue of runway orange. Dolce & Gabbana wears a cropped red down jacket with channels next to a vintage “On Air” sign. There are several glittery peekaboo bodysuits (a Beyoncé signature), two of which she wears while astride a horse; both are by relatively unknown designers, Gianni Naazar and Nusi Quero. A cone bra she’s wearing on a red staircase looks like a Jean Paul Gaultier confection — a throwback to Madonna’s days as a pioneer of mass provocation — but it’s actually a look from Daniel Roseberry’s Schiaparelli Spring 2022 couture collection These are not pieces that represent each designer’s obsessions or their brands’ priorities. Instead, they represent Beyoncé’s vision for herself. They’re the latest expression of her pure style.

Copyright: Beyoncé.

Copyright: Beyoncé.

Over the past decade, musicians have become the power players of the fashion industry, allying themselves with brands, sometimes officially and sometimes less so. While influencers still drive purchases, musicians are shaping global tastes and have been the bridge between what’s happening on the catwalk and young people who are now eagerly discussing clothes and brands on social media. Musicians, in particular, are drawn to Grails, whether it’s a jacket from the groundbreaking Supreme/Louis Vuitton collaboration, a Versace handbag, or a stunning Saint Laurent dress. Florence Welch, Lizzo and Billie Eilish are a big part of why we know Gucci’s geek-chic aesthetic. Even more transformative was the style of Rihanna, who introduced us to the allure of vintage Chanel, the tulle pendants of Molly Goddard, the chilled weirdness of Glenn Martens Y/Project and the couture genius of Guo Pei. She changed the way young women dress: Remember when it seemed crazy that you would wear a tutu dress to go to Starbucks? Now, overdressing is the Zoomer lifestyle. But even if you don’t have Rihanna’s passion, an obsessive relationship with fashion with a playful, intuitive understanding of the latest it items, brands and trends has provided a platform for many young musicians to demonstrate their cultural worth.

Beyoncé sometimes wears such pieces, but in her official imagery, she defies such connoisseurship. Perhaps that is why her images are so unique, so indelible. Days later, I still think of her in that red buffer, staring into the camera lens with the “On Air” sign lit up. She literally has breaking news: new music, bitch! The images feel timeless, even when there are clear historical references, as in her latest photos, with their disco-era vaseline glow, full of Antonio Lopez authenticity. What distinguishes her approach to clothing is that she selects pieces that fulfill her identity, her sense of what she wants to be, embody and feel, rather than what she considers interesting or current.

Copyright: Beyoncé

Copyright: Beyoncé

It’s an image that seems to come entirely from her own creative source, created in collaboration with stylists like Marni Senofonte and also photographers (here Mason Poole and Carlijn Jacobs). She often wears younger, untried, unknown designers, suggesting she knows there is power in the representation she can provide; but just as often the label turns out to be Gucci or Dolce. When the world sees the image, it’s not the brand that matters, but the emotions it evokes in us and what it inspires us to do or wear.

That has always been her job. One of the most indelible style moments of her career: walking towards a row of cars with a baseball bat in the video lemonade‘s “Hold Up”. The lemon-yellow silk-georgette gown, with its pleats and loosely laced bodice, hugged her body in sensual but strong folds as she strode down the street, a despised but proud woman. You probably don’t remember the brand – even I had to look it up to be sure. Given the year (2017) and the romantic shape and wild color, you might guess it was Gucci; it was actually Roberto Cavalli, then managed by Peter Dundas, then a regular collaborator of Beyoncé. You remember the woman and what she did with and in the dress rather than who made it. That’s powerful. Even when she wore Riccardo Tisci’s Givenchy dresses, as she did to the Met Gala for several years, it seemed like Tisci was articulating a secret part of Beyoncé’s tastes rather than the artist trying to embody the designer’s message.

Copyright: Beyoncé

Copyright: Beyoncé

It’s not that other stars aren’t creating history-making images — Rihanna turned street style into an art form, transforming the sidewalk into a public forum for joy and wild self-expression. The great thing about musicians like Rihanna, Lady Gaga or Madonna is that they use the tools of their own time to make their statements. you love Fashion, with all its madness, constant change, exciting opportunities for reinvention and role-playing. But Beyoncé stands almost alone in her commitment to creating a total and complete look and then searching for clothes that complement that reality. She is not interested in what seems to be in the moment, but in how to create her own moment. It’s the difference between fashion and style – and their videos, images and music all add up to the clear decree that style is indeed substance.

Probably the only musician with a similar approach is David Bowie, who we consider to be constantly evolving, but who in many ways was simply refining and redefining a glorious, utterly original sense of vision. It could refer to other eras, other musicians, other ideas. But the look and feel always felt like nothing else. It wasn’t about interpreting our time, but about what becomes possible when you allow yourself to be fully immersed in a universe.

The exception that proves the rule is the accumulation of names dropped on it Renaissance: On “Summer Renaissance” she names “Versace, Bottega, Prada, Balenciaga/Vuitton, Dior, Givenchy, collect your coins, Beyoncé”. But the line comes across more like classic rap braggadocio; It’s lucky for these European brands that their names all rhyme. It’s the following line that’s more intriguing: “So elegant and raunchy, this haute couture I flaunt / This Telfar imported bag, Birkins, the shit in the warehouse.” On Monday, The Real Real reported that the website saw an 85% increase in searches for Telfar on the day of the album release alone. The Birkin may be the world’s most famous and coveted handbag, but it’s the Telfar bag that fits into the world of Beyoncé – and therefore her fans.

You might like it too

Leave a Reply

Your email address will not be published.