CLASS 001 W/BAHBAHROO

this class INCLUDES RUNWAY SHOWS, LOOKBOOK SHOTS AND FASHION SHORT FILMS FROM SOME OF MY FAVOURITE FASHION CAMPAIGNS . ALTHOUGH FASHION ISN’T MY ‘FORTE’, SO TO SAY, I HAVE LEArnT to GRAVITATE TOWARDS IT AS A FORM OF EXPRESSION AND SEE IT OUTSIDE THE REALM OF CONSUMPTION AND MORE IN THE REALM OF ART.

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01: lv fw21—the great heist

This show marks the genesis of my evolving obsession with fashion. through this show, virgil taught me the intricate nature of fashion and how rich in artistic and expressional value it actually is, whereas i hadn’t been exposed to it before. maybe it’s because i wasn’t really seeing anyone like me occupying those spaces which is what virgil’s mission was all about—and so is a big part of this show, the premise being ‘the great heist’ and all. virgil’s passing makes me feel like we ain’t supposed have shit. it makes me scared of the future, but at the same time hopeful that the planet sized footprint virgil left behind will continue to dig deeper and influence more change.

breaking down the concept of ‘the great heist’ is hard to do briefly, but this show encapsulates that concept well. the narration of kai isaiah jamal helps to contextualise the message of the show, especially the line where they say “I think as Black people and as trans people and as marginalized people, the world is here for our taking, for it takes so much from us,” this concept is also illustrated visually in quite a few ways that can easily be missed if you don’t watch carefully.

02: BALENCIAGA: CLONES—SPRING 22 COLLECTION

THIS SHOW WAS CREATED BY DEMNA GVASALIA AND THE MAIN CONCEPT INTERPRETED BY THIS SHOW IS “DEEP FAKE”, WITH ALL THE MODELS BEING ONE PERSON—ELIZA DOUGLUS—OR BEING MADE TO LOOK LIKE THEM. THE SHOW WAS ENTIRELY DIGITALLY MADE including THE placing of AUDieNCE in the space. IN A NUTSHELL THE ENTIRE SHOW WAS ‘FAKE’, BUT WHAT IS FAKE REALLY? the question IS THE NOTION PHRASED BY THIS SHOW.

03: GUCCI FW18/19

THIS COLLECTION SITS AT A HIGH-ASS 90+ LOOKS, WHICH IS A LOTTT, EVEN FOR GUCCI. ALESSANDRO MICHELE has put together this monster of a show (literally) and named it “cyborg”. the show encompasses artificial modification, with the models having some of their features modified, such as third eyes on their foreheads and even artificial life like creatures, such as a baby dragon and a chameleon. watch bliss foster’s analysis part 1 and Part 2 to get a full break down of the show.

04: ADER x Camper 'The Lost Origin​' campaign

ader error is a korean streetwear brand that i fell in-love with back in my pinterest outfit board days.

the offset logo and the consistent hint of blue in almost every look were some of my favourite features of the brands work, including their unconventional campaigns.

05: kusikohc “right to fail” READY-TO-WEAR COLLECTION

kusikohc is a korean FASHION HOUSE founded by conceptual photographer, CHOGISEOK. thE BRAND IS MAINLY DRIVEN BY IT’S VISUAL PROWESS AS CHOGISEOK HAS BEEN WORKING IN THE FASHION INDUSTRY AS A PHOTOGRAPHER. THIS COLLECTION FEELS LIKE ITS BEEN APPROACHED WITH A REVERSE ENGINeERING APPROACH, WITH THE FINAL PHOTOGRAPHIC PRESENce IN MIND THROUGHout IT’S CREATION. I WISH I KNEW MORE ABOUT THIS COLLECTION BUT THERE AREN’T TOO MANY RESOURCES ON THE INTERNET ABOUT IT. I WANTED TO INCLUDE IT REGARDLESS. INSANELY BEAUTIFUL FOR AN ENTITY STILL FINDING IT’s FEET.

06: THEBE MAGUGU AW21 - BANYOLI A BISIGO

this fashion short-film represents what i believe is a blue print for young, black, (southern) africans like me, and shows us to recognise the rich soil that we stand on—our culture and what came before WHAT WE KNOW NOW. growing up seeing badly made south african movies and soapies on the SABC’s, iT WAS EAsy to see them as shortcomings or failed attempts of the ‘real’ thing while completely disregarding the indigenous artistic value of it. ‘banyoli a bosigo’ goes back to these and appreciates the art for what it was and in turn gracing the production with a beautiful wardrobe of world renowned and localLY produced fashion.

07: CASTELLO CAVALCANTI BY WES ANDERSON

WES ANDERSON MOVIES HAVE BECOME A BIG INFLUENCE ON HOW I SEE THE WORLD AS OF LATE AND THIS SHORT FILM HE DID FOR PRADA IS NOTHING SHORT FROM GOBB-SMACKING. ALTHOUGH THE CLOTHES AREN’T REALLY A PRIMAL FEATURe OF THE FILM, THIS FILM IS ANOTHER EXAMPLE OF THE ENDLESS AMOUNT OF WORLDS THAT FASHION CAN TRAVEL TO, BECAUSE CLOTHES ARE FOR PEOPLE, AND PEOPLE ARE EVERYTHING AND EVERYWHERE.

08: prada MENSWEAR fw 21

THE PRADA KNITTED JUMPSUIT COLLECTION. AT THE END OF THE SHOW, MIUCCIA PRADA AND RAF SIMONS REVEAL THAT THE SET WHERE THE SHOW WAS FILMED WAS ENTIRELY MADE OF UP-CYCLED MATERIAL FROM PREVIOUS SHOWS. THAT SHIT BLEW MY MIND FOR THE VERY FACT THAT THAT WAS MY FAVOURITE FEATURE of THE SHOW (AND THE LOAFERS, OF COURSE. I MEAN—IT’S A PRADA SHOW).

09: golf LE FLEUR SS 19

TYLER, THE CREATOR. THIS DUDE’S NAME HAS BEEN ON THE TIP OF EVERYONE’S TONGUES FOR A WHILE NOW AND HIS PRESENCE IN FASHION IS EASY TO OVERLOOK BUT HARD TO MISS IF YOU PAY ATTENTION. FROM THE MUSIC, CLOTHES, LOCATION AND MODELS, THIS SHOW CAPTURES QUITE A BIT OF THE ESSENCE OF GOLF LE FLEUR AND THIS WAS EVEN BEFORE IT’S INDEPENDENT EXISTENCE FROM GOLF WANG BUT DEFINITLY SETS THE TONE IN TERMS OF WHAT WAS TO COME AFTER THAT.

10: vetements SS20

LAST BUT NOT LEAST, THE VETEMENTS ‘MCDONALDS SHOW’. there are literally dozens of references that you can catch just off a single watch, a theme that shows up most obviously in this is capitalism, with work wear features and classically branded pieces like the ‘e’ internet explorer logo reference, the vodaphone reference and the heiniken reference.

some of the models appear with fries in their hands, to me that’s genuis because it shows that demna knows and understands pop culture staples and symbols. demna’s work reminds me of andy warhol’s work, the informed-ness to it and how it takes from culture and gives back.