Vegas-style silver, campy aesthetic, and most importantly, fun, wellness-style-Fashion-Trends News, Firstpost
Eurovision 2021 set the stage for a parade of ridiculous outfits that were yet worn with such exuberance that it was a great reminder that sometimes the freedom to express one’s own tastes had to be the goal.
Maneskin from Italy celebrates after winning the Eurovision Song Contest in Rotterdam, the Netherlands on May 23, 2021. Unlike some of the other contestants, they worked with a great designer although their wardrobe was somewhat disturbed by the victory. (Ilvy Njiokiktjien / The New York Times)
It is an uncomfortable reality of the modern communal spectacle that more often than not, when it comes to a big awards show or a performance extravaganza or even a sporting event, marketing has overwhelmed personal expression. – at least when it comes to clothing. Red carpets are big business for public figures, and the fear of appearing silly is an equally powerful deterrent. Brands have rushed to harness this tension for their own ends.
We canceled the Oscars years ago, but when even the MTV Video Awards and the Olympics turn into hashtag opportunities for Valentino, Giambattista Valli, and Ralph Lauren (among many others), you know we’ve hit one. peak of fashion penetration.
That’s why Eurovision 2021 – that limitless mix of emotions, inanity, genres, nationalities, wind machines, bursts of fire and just plain weirdness – was such a joy to watch.
The hosts didn’t just use “Open Up” as the official slogan, and then opened the arena in Rotterdam, the Netherlands, to thousands of people (thousands of people! In one room! Screaming and dancing!) . They opened the stage to a parade of ridiculous outfits that were yet worn with such exuberance that it was a big reminder that sometimes the freedom to express one’s own tastes had to be the goal.
The mere fact that Italian All-Shebang winner Maneskin actually worked with a great designer and no one would ever know because the identity of the rock band has completely overshadowed the fashion brand is symptomatic of what makes Eurovision special. And, more and more, unique.
This designer – Etro – is, after all, an Italian family brand that has made a signature of a certain luxury bohemian aesthetic, most often expressed in flowing paisley fabrics and a sort of sand-swept romance. Still, there was Maneskin, doing his best to rekindle the idea of glam rock in laced laminated leather flares and studded leather jackets, and gold-speckled poet sleeves. It made you think Jimi Hendrix meets “Velvet Goldmine”, but it didn’t make you think of “Milan Fashion Week”.
It’s actually all for the good. Indeed, at the end of the show, it was hard not to wish that with the winning song, viewers could vote for the winning outfit. After all, the two are quite closely related.
If Italy won the competition, for example, the money in Vegas clearly won the night. The spangly, abbreviated shine was the go-to performance look, as seen on Anxhela Peristeri from Albania (in a high-necked steel sequined leotard with icicles of sparkle dripping from her hips and shoulders); Elena Tsagrinou from Cyprus (in a sort of halter bikini tailoring with crystals and pearls); Destiny from Malta (silver fringed mini dress); and Natalia Gordienko from Moldova (long sleeve bodysuit and plunging neckline with – yeah! – more silver fringes).
Apparently their costume designers had all watched last year’s satire, “Eurovision Song Contest: The Story of Fire Saga,” and were inspired to take it at face value.
Although the bright yellow outfits of Lithuanian The Roop – which combined shoulder pads, jumpsuits and schoolgirl pleats and recalled the early days of MTV, not to mention New Wave silhouettes and sunny eggs – were just as hard to forget. . There’s a reason they caught the attention of supporters in Vilnius, who, according to a local government blog, enlisted MK Drama Queen, the brand that created the costumes for the Roop to help dress up the local statues. with bright yellow accessories like a house shape – the dynamism of the country.
But when it comes to camp – which is, after all, Eurovision’s hallmark aesthetic value – no one has beaten the Norwegian Tix. His giant white fur and even more giant white wings took his crystal-studded silver bodysuit to a whole new level, as did the silver chains that bound him to both Earth (and a few rescue demons circling around). proximity), to better evoke the point. from her song, “Fallen Angel”.
Speaking of angels, feathers were also a key part of Senhit from San Marino’s look with a giant gold headdress (with Flo Rida joining her on stage). What was only left out in “How the hell do you get around in there?” raffles from Russian Manizha, who entered the dresses of what looked like a giant matryoshka doll to answer the question by emerging in freedom in red jumpsuits to illustrate the theme of her song, “Russian woman. “
You couldn’t help but smile at it all, which is the point. Fashion is supposed to be fun. It’s supposed to make you feel good. It is something that everyone needs. The fact that Eurovision hides this under a bushel of kitsch doesn’t make it any less true.
No wonder no one can generate enthusiasm (or votes) for Englishman James Newman, who donned a… plain leather coat for his number. One of the takeaways from Eurovision 2021 should be that Coco Chanel’s whole “Elegance is Denial” stance doesn’t really work in this context. Except, maybe, when it comes to French actress Barbara Pravi, who took the stage in a simple black bustier and black pants to sing her song, “here», Earning an enthusiastic reception from its home market and placing second in the jury’s vote.
Given the applause, it was hard not to wonder – with a heavy heart – if, say, a Dior Ambassador might be in her future.
Vanessa Friedman c. 2021 The New York Times Company