<i>Fashion Criticism: An Anthology</i> , edited by Francesca Granata

Fashion Criticism: An Anthology is a book, edited by Francesca Granata, that gathers various writings to provide a thorough understanding of the development of fashion criticism in contemporary times so as to elucidate its establishment. Granata collects and juxtaposes writings from fashion journalists, cultural critics, theorists, and writers with the aim of filling gaps in this field of cultural criticism. In the introduction, the editor immediately highlights the reasons why fashion writing has encountered many obstacles to being recognized as a subject worthy of academic interest. Among the various factors causing this delay, one hypothesis put forward is the association with the feminine gender, which plays a fundamental role in the consideration of this area of criticism as superficial. Indeed, even after its legitimation within cultural criticism, fashion criticism has still been labeled as trivial and superfluous and, therefore, feminine. Considered a marginalized sector of critical theory, media coverage of fashion has often been conceived of as being by women and for women. Moreover, there is another equally plausible assumption explaining the delay in legitimation, namely a sort of censorship problem whereby the pickiest press was excluded from fashion shows. The link between the fashion press and industry is proposed by Lars Svendsen (whose ideas are reported by Granata, 2), who suggests that the press may struggle to remain impartial and therefore to appear credible to readers. Despite the challenges, as one reads through the anthology it becomes evident how fashion writing has gradually gained prominence over time. This legitimacy is evident in the first part of the book, where la critique de mode is granted an initial space of recognition. The second section investigates the evolution and dissemination of fashion criticism within a shifting cultural landscape. This chapter, starting from the 1970s, considers a period of significant social changes during which fashion review became a voice for issues such as racial discrimination, feminism, and civil rights, positioning itself within the public discourse and eventually also becoming recognized as a tool of ideological struggle. The third and final section coincides with the dawn of the new century and the proliferation of the internet, as criticism evolved further and expanded through new online platforms such as blogs, e-journals, and dedicated social media pages.In the first part of the book, readers are introduced to a curated selection of articles spanning the late nineteenth century through to the 1960s. This section begins with two editorials by Oscar Wilde advocating for more functional women’s dress. Claiming the aspirations of the dress reform movement of those years, Wilde encouraged the renewal of women’s attire, according to which women’s clothes should undergo several changes to free the body. For instance, in the very first contribution, originally published in The Pall Mall Gazette in 1884, the writer proposed the abolition of the corset and high heels, asserting that modern women required an attire enabling them to move freely. In the subsequent contribution, an excerpt from “Literary and Other Notes,” Wilde further elaborated on his argument and invited readers to engage in a rational consideration of the human body, disregarding gender. Later, in the avant-garde magazine Rouge, published in the mid-1910s, Louise Norton took up Wilde’s words confirming the obsolescence of gender distinctions for clothing, even going so far as to propose unisex fashion. Following these early writings on fashion criticism, which are notably forward-thinking in their outlook (in terms of both the contributions of cultural critics contextualizing fashion and their strongly feminist content, given the historical period), it is not surprising that, right from its inception in the 1920s, The New Yorker devoted a column to fashion and beauty issues. The column was originally written by Lois Long, and two of her articles, with a playful yet assertive writing style, are included in the book. The journalist’s audacity lay in her ability to freely express considerations that both praised artistic creativity and disparaged what was perceived as a safe or stale design, while also advising her audience to be cautious in buying new items. Elizabeth Hawes, a fashion designer and occasional writer for the same column in The New Yorker, is represented by two excerpts from her 1938 collection Fashion Is Spinach. In contrast to previous accounts, she offered her personal recollection of the challenges she faced, including her work as a fashion critic, at a time when this professional role was not yet well-defined. As we approach the end of the first section, we encounter Eugenia Sheppard and Eleni Epstein, two postwar fashion chroniclers who provide their own, more inclusive fashion criticism, each with a distinct style. Sheppard criticized the hyperfeminine clothes of fashion shows with an ironic tone, challenging readers to envision girlish garments, such as miniskirts, on a male body, echoing Hawes’s bold design choices. In contrast, Epstein offers reflections on the political communication of clothing.The second part of the book covers the 1970s to the 1990s, a period characterized by the flourishing of cultural criticism. During this time, themes such as race, machismo, and cross-dressing are interwoven into a dialogue that increasingly intersects with fashion discourse. The section opens with Angela Carter’s “The Wound in the Face” (1975), in which she reflects on the beauty standards and use of makeup promoted by women’s fashion pages, highlighting contradictory aspects. Elizabeth Wilson humorously discusses the political connotations of hair in her piece “Haute Coiffure de Gel,” tying traditionalist and nostalgic political values to a fashion industry incapable of addressing the needs of an increasingly fragmented society. Additionally, Bebe Moore Campbell recounts, also autobiographically, how from the 1960s to the 1980s, afro hair served not only as a fashion statement but also as a militant symbol of ideological struggle. Through her narrative, she invites the reader to understand the precarious conditions faced by the Black community. Other advocates for emerging sensibilities, now brought into the public eye, include numerous cultural critics who also wrote about fashion, such as Susan Sontag. In “Looking with Avedon” (which, as Granata laments, was never republished after its first appearance in Vogue in 1978), Sontag delves into fashion photography, first exploring the connection between fashion and the visual arts and then analyzing meanings and values proper to the photographer’s artistic expressiveness. At the outset of the 1990s, such notable figures as Vogue journalist Eve Babitz, fashion critic Amy Spindler, and academic writer Valerie Steele emerged. The latter, in “Calvinism Unclothed,” tackles the issue of the hypersexualization of models in Calvin Klein’s advertisements. Particularly in the campaign directed by Richard Avedon, the erotic content was so pronounced that it faced censorship from several broadcasters. The anthology also examines Corinne Day’s photography, specifically in the article “Buying the Fantasy,” written in 1996 by Hilton Als for The New Yorker. Als meticulously describes the emergence of new fashion icons: disenchanted girls who, through photographic representation, evoke feelings of silence, failure, and isolation, delineating a trend that would later be described as “heroin chic.” In his writing, fashion serves as a medium for dealing with topics of sexuality and gender equality. Anne Hollander also digs deep into the construction and definition of gender identity, considering, as Sheppard had previously, the adoption of skirts by men. Her critique brought out a disparity between male and female cross-dressing, revealing a gender inequality that is still deeply rooted. Other anthologized authors further strengthen the link between fashion, art, culture, and society, solidifying a well-defined space for fashion criticism within the public debate. For instance, Kennedy Fraser addresses the presence of Black models on the runway, while Holly Brubach’s article implicitly champions feminist themes, covering cross-dressing, women’s freedom, and progress. Lynn Yaeger, with a democratic and culturally committed approach, raises awareness about independent fashion in New York and supports lesser-known talent in the city. In conclusion, Suzy Menkes, in her piece “Fashion’s Military Fascination: Unsettling, Romantic Esthetic,” takes us to the next section with an insightful analysis on camouflage trends romanticized by fashion designers.As Granata states in the book’s introduction, the slow establishment of fashion criticism may stem in part from the close relationship between the press and the fashion industry, making it challenging to maintain impartiality in criticism. However, in the third and final section of the book, which temporally corresponds to the turn of the millennium, the results of the objective and professional detachment practiced by the authors become evident. This objectivity has allowed fashion criticism to establish itself professionally and emerge as a subject of critical analysis, ultimately gaining recognition and legitimacy within cultural criticism. Granata presents a series of key articles that advocate for still-unresolved cultural concerns through fashion writing, with an approach that transcends constraints. One notable example is the first article, “Future, Take Note: Raf Simons Was Here,” by Cathy Horyn, in which the author focuses not only on Simons’s clothing design but also on his personal evolution. Through her uncompromising writing, she underscores the importance of critics’ impartiality. Following this, we also encounter fashion historian Caroline Evans with “Hussein Chalayan: Nostalgia for the Future” (2005), which brings to the public the melancholic, utopian, and almost heroic language of the designer by narrating possible future scenarios in twenty-first-century fashion amid ambiguities and uncertainties. From Judith Thurman, an influential cultural critic and winner of the National Book Award, the volume includes “The Misfit,” which provides a very human and cozy biography of fashion designer Rei Kawakubo, as well as “Dressed to Thrill: Alexander McQueen at the Met,” a review of a significant fashion exhibition. Moving on, Sarah Mower wrote “The Mystery Man: Margiela, Be Mine,” for Vogue in 2008; in it she recounts how she feels while dressed in the designer’s attire. Particularly noteworthy is an excerpt from Why I Hate Abercrombie & Fitch (2005), for which Dwight A. McBride received the Lambda Literary Award for LGBTQ Studies. In his work, the scholar accuses the brand of promoting an image of desirability synonymous with cis-hetero-basic white males from wealthy backgrounds, shedding light on issues of racism, machismo, and homophobia. Similarly, other articles in this section point out the political significance conveyed through clothing. In “All Hail the Leader of the Fashionable World” (2009), Robin Givhan, the first fashion critic to win a Pulitzer Prize, intertwines fashion, public appearance, and political messages. Givhan carefully scrutinizes Michelle Obama’s style choices, which convey a strong political statement of solidarity with small businesswomen in the textile industry, aligning with her husband’s political promises. Similarly, Vanessa Friedman, in “Trump vs. the Disappearing Tie” (2016), reasons about Donald Trump’s way of dressing and his stubborn use (contrary to prevailing trends) of the tie, aiming to evoke a traditional imagery. A year later, Rhonda Garelick questioned the appropriateness of Melania Trump’s outfits, suggesting that her highly fashionable public image often overshadows her persona. Other notable writings include two articles by Anja Aronowsky Cronberg, whose critical thinking revolves around feelings of failure, shame, and power dynamics. Additionally, fashion journalist Guy Trebay reflects on the history and aspirations of designer Suket Dhir. Connie Wang closes out the compendium with “Is Wokeness in Fashion Just Another Illusion?” in which she employs fashion as a lens through which to engage with complex issues and convey politically aligned messages, eventually wondering whether the term inclusivity has been overused and consequently has lost some of its meaning.In the anthology, the meticulous selection of articles traces significant publications and cult editorial moments that mark pivotal points in critical discourse and alternative narrative paths within the realm of relationships between fashion, art, and society. The collection serves as a reconnaissance tool, guiding the reader through the evolution and affirmation of fashion’s textual contributions. These essays, addressing various forms of discrimination, effectively underscore the intersectionality of fashion criticism. The volume also provides an excursus through the changing landscape of press criticism over time, noting shifts in focus. For instance, the observation of the quality of the materials used in clothing, once paramount in critical communication, has waned in importance. Instead, contemporary fashion criticism often emphasizes new global languages and the heritage of intangible values embodied by brands over time. Numerous articles in the anthology address issues ahead of their time, topics that would later become central to public debate or remain contradictory to this day. Steele’s “Calvinism Unclothed” (113–17), on Calvin Klein’s advertising, exemplifies this prescience. In January 2024 the brand was once again been at the center of controversy, similar to the 1992 media storm documented in the essay. The advertising campaigns stirred public sensibilities enough to be partially revoked, just as they were back then. This highlights a persistent double standard in the portrayal of male and female bodies, indicating that the redefinition of female sexuality remains a highly contentious issue. These complexities, along with many others explored in the anthology, underscore the ongoing necessity for reflection on such content. Fashion, indeed, serves as a powerful lens through which to investigate a wide array of social and cultural issues, providing new perspectives and eventually challenging the prejudices of Western society, which has historically dismissed it as unworthy of academic consideration. Contrary to these misconceptions, the publication displays the cultural depth and conceptual richness inherent in fashion criticism. This reaffirms its significance as a legitimate and valuable field of study, capable of shedding light on complex societal phenomena and contributing to broader conversations around culture.