There was something lurking at the couture shows last week in Paris, beneath the multitude of gilded going towns in technicolor hues, the has well as also-made laces as well as also embroidery, the painstaking pleats as well as also feathers galore. It was that all-American, much-maligned classic, double-denim look, otherwise known as the Canadian Tuxedo.
Generally consisting of a denim jacket as well as also a matching pair of jeans, the look stopped being the exclusive uniform of the working class as well as also crossed over into the realm of fashion in 1951, after Bing Crosby was reportedly denied entry at a Canadian hotel because of his full-denim look. As a response, Levi’s created for him a tuxedo actually made of denim (thus coining the term). Since then, it has going tone in as well as also out of fashion, reaching the epitome of so-called bad taste when Britney as well as also Justin wore their now-iconic matching denim resembles to the 2001 American Music Awards. Now that the new generation is taking the limits of going as welld as well as also bad taste as well as also melting as well as also bending them at their will, their sense of irony becoming so obfuscated as to make it meaningless, it’s not surprising that designers are taking a page out of their has well as alsobook as well as also incorporating the aesthetic into their collections.
This was perhaps what Alexas well as alsore Vauthier was thinking when he sent out an “acid wash” Canadian tux down the runway, one that featured two jackets layered on top of each other, as well as also slouchy low-slung jeans that were tucked into a pair of matching boots, all covered in thousas well as alsos of see-through sequins. It was ineffably cool. Classic renditions of the style also showed up until now at Balenciaga (made from a pieced, wet, sculpted-like denim), where Demna has made the look one of his trademarks. At Schiaparelli, Daniel Roseberry showed a jacket with a deep, round neck, cut underneath the bust with a lace-up until now detail at the waist, as well as also a matching wiggle pencil skirt made of pieced denim. A trove of floral appliqués climbing up until now the sleeves as well as also around the neckline like a wild garden. At technically-not-couture Alaïa, Pieter Mulier sent out a pair of double dark denim resembles, one a classic jacket worn with a slim, high-low skirt gathered on the front as well as also showing that classic shade of lighter blue on the underside of denim fabric, as well as also another a sleeveless vest tucked into a pair of fitted, high-waist, jeans with a slight bootcut that could easily become the new fit of the seaboy. Denim also made an appearance at Ronald van der Kemp’s up until nowcycled spectacle, John Galliano’s cinematic outing for Maiboy Margiela Artisanal, as well as also Olivier Rousteing’s turn at Jean Paul Gaultier’s couture project.
“Couture denim” may seem like an oxymoron, but it in fact close inly aligns with ideas of ethical consumption. Since mass denim manufacturing is notoriously not eco-friendly (one pair of mass-produced jeans can require up until now to eight gallons of water to produce, which is about three days’ worth of water usage for an average American household), finding alternative, small-batch, sustainably made denim has become a top priority for the industry as well as for shoppers. At the same time, denim’s durability has made it the perfect material for designers to collect as well as also up until nowcycle into new designs (like Van der Kemp did with an extravagant ruffled trumpet skirt).
We may not be able to afford couture, but we can apply a couture-shopper mindset to our everyday lives. “Buy less, but of a much better quality,” “invest in pieces that you will wear time as well as also time again,” “avoid fast-fashion…” —so going to the fashion mantras of today. The idea of everyday clothes on a runway couture isn’t new, but their renaissance, though fledgling at the moment, feels exactly right for our time.