Beauty dances to an off-kil­ter beat as Club Kids, counter-cul­ture, and the un­der­ground scene steal the spot­light. By Aisha Has­san.

Harper’s Bazaar (Malaysia) - - Beauty -

In his hit song “Rave On”, Buddy Holly sings: “Rave on, it’s a crazy feelin’/And I know it’s got me reelin’,” cel­e­brat­ing the delir­ium and frenzy of some­thing you never want to end. Holly be­came an icon of rock ’n’ roll in the late ’50s, and when the Ber­lin Wall went up in 1961, it was this out­lawed genre that in­fil­trated the East Ber­lin un­der­ground mu­sic scene as youths raved, on and on and un­con­trol­lably, to mu­sic that gave them free­dom. That sort of re­bel­lion—danc­ing bod­ies, re­lent­less rhythm, and a place to let go—has never died. Psy­che­delic artists of the ’60s, New York Club Kids of the ’80s and ’90s, all dressed in mil­len­nial flair, emerged vi­brantly and fab­u­lously in this sea­son’s beauty. Rain­bow dreads at Marc Ja­cobs and a cobalt blue Pomera­nian at Man­ish Arora were as loud as the fas­ci­na­tion—and con­tro­ver­sies—they caused. Sub­ver­sion was the reign­ing theme, and it didn’t have a set rhythm.


Rav­ing isn’t al­ways mad. Nowa­days, the term might be bet­ter as­so­ci­ated with golden-limbed par­ty­go­ers in Ibiza, or per­spir­ing and fist-pump­ing en­thu­si­asts at To­mor­row­land. In fact, it’s all about mu­sic and the un­der­ground scene, since the modern “rave” grew out of the acid house move­ment in the ’80s, when clubs would be heav­ing with edgy, anti-estab­lish­ment types (many still are).

In this vein, Olympia Le-Tan housed her show at the Rex Club in Paris, one of the city’s old­est techno joints. As leggy mod­els pre­pared by the DJ booth, a sign en­cour­aged: “Fun night­club at­ti­tude, girls!” Be­drag­gled hair, bright liner, and colour­ful spheres above the brow bone—a fes­ti­val sta­ple—were the or­der of the day. The look matched cloth­ing printed with graph­ics from prom­i­nent ’60s artists such as Rick Grif­fin and Martin Sharp. The pul­sat­ing show re­called the pop­u­lar­ity of psy­che­delic drugs dur­ing the pe­riod, and the even more over­ar­ch­ing con­cept of es­capism, which of­ten takes cen­tre stage with club mu­sic. “I wanted to in­te­grate to­day’s coun­ter­cul­ture,” Le-Tan ex­plained.


The beauty at Marc Ja­cobs was also noth­ing short of show-stop­ping—and con­tro­ver­sial. For the set, Ste­fan Beckman built a slicked, el­e­vated stage and strung thou­sands of lit­tle lights above for a “clubby vibe”. The stand­out fac­tor was web-sourced dread­locks by Jena Counts, styled by Guido Palau, who ex­plained, “We were look­ing at girls that were in­spir­ing to Marc, and cer­tain types of cul­tures, like rave cul­ture, club cul­ture, acid house,

Lana Wa­chowski, friend of Marc Ja­cobs, helped in­spire the dread­locked hair Matty Bo­van and Charles Jef­frey of Fash­ion East have been dubbed Lon­don’s nextgen­er­a­tion Club Kids

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