ONE SIZE DOES NOT FIT ALL

Identity politics get fashionable ... or fashion gets identity politics?

After seasons of minimalism, normcore and wishy-washy unremarkable wares, fashion designers are finally taking a stance. Like the world at large, they’re attempting to come to grips with identity politics, especially as it pertains to women. The answers they came up with on the Spring 2019 runways were as vast and varied as just about every other industry asking similar questions of itself: some thoughtful; others transparently phoney.

No matter where the new designs fall on that spectrum, one thing is for certain: there’s no neutral ground when it comes to fashion this coming season.

There will be blinding head-to-toe neon displays of defiance from the likes of Tom Ford, Carolina Herrera and Marc Jacobs (an outfit may consist of a fuchsia blazer, electric pink jumpsuit and fandango pink heels). Full-look sheer fabrics from the likes of Mansur Gavriel, Jeremy Scott and Jason Wu strike a similar note, positing that women should be bold, unabashed and in-your-face.

Meanwhile, J.W. Anderson, Peter Pilotto and Preen by Thornton Bregazzi celebrate the softer side of femininity with pastels layered over pastels. Their designs seem to be arguing that female power need not be loud or combative. Similar theories were found on the runways of Simone Rocha and Roksanda, which featured loose fits and an abundance of silk (picture your mother’s nightgowns reimagined as elegant evening wear). For these designers, traditional feminine traits such as romanticism, softness and restraint are key.

Whatever side they landed on, designers who chose to focus on only one aspect of womanhood seemed a full wave behind modern feminism. One of the current women’s movement’s essential arguments is that we can be many seemingly contradictory things all at once.

Sarah Burton grasped this fully when she introduced a new version of the historical Alexander McQueen warrior femme for spring, outfitting models in intricate lace dresses, floral embroideries and wild peonies digitally printed onto silk taffeta. She juxtaposed the garments with scalp-hugging boxer braids, sharp leather belts and layers of heavy metal jewelry that could almost certainly double as weaponry. The collection, inspired by heirloom Victorian wedding dresses, was one of the strongest showings of the season in its ability to capture the complexities of femininity.

“I didn’t want it to be a woman who was powerful for the sake of being powerful, so I felt it was also the journey of a woman’s life – birth, death, marriage, sisterhood, community and the idea that you can be powerful by expressing emotion,” Burton told The Guardian backstage at London Fashion Week.

Another designer who “got it” was Canada’s own Sid Neigum, who returned to show at Toronto Fashion Week for the first time in several seasons. Neigum is known for his edgy, architectural designs, often manifested in heavy leathers, neoprenes and even metal woven into textiles. However, for Spring 2019, he elevated his signature aesthetic with lighter fabrics, swaths of white, oversized lavender florals and even splashes of whimsical blue (highly unusual for a designer who mostly sticks to black, more black and the occasional shade of burgundy or navy). The result was a futuristic vision of what womanhood can be: rational and romantic, sharp yet soft, elegant yet grounded.

The season’s most controversial showing was Hedi Slimane’s debut at Celine, a label long loved for its focus on grown-up women who don’t cater to the male gaze. Previous designer Phoebe Philo specialized in minimalism, clean lines and striking suiting. Slimane sent sequined skimpy frocks, transparent tops and “unisex” super-skinny suiting inherently at odds with the female form down the runway. The label embraced by professional women suddenly seemed like a sexed-up version of junior prom.

British GQ’s fashion critic called it “A big f--k you to women who just wanted something non-demeaning to wear;” Tim Blanks described it as “a gust of toxic masculinity;” and the Hollywood Reporter’s fashion critic called Slimane the Donald Trump of Fashion. In response, Slimane accused critics of puritanism and even suggested there was a homophobic undertone to the biting remarks.

For the past several years, fashion has focused on individualism. Designers spoke about catering to “a woman.” This gave consumers relative freedom from trends and permission to explore their own unique personalities. However, this season seems to mark a shift in what an outfit represents. What one wears next season, and likely several seasons forward, will no longer be seen as simply selfexpression, but rather commentary on a greater worldview. We are being asked to pick a tribe; to make our allegiances and views known.

Coming to a store near you: identity politics, available in sizes XS-XL.