A SPOTLIGHT ON THE DARK

From AD 200 to AD 500, Scandinavian barbarians invaded various parts of Rome repeatedly. This tribe became known as the Goths. From the 12^th Century onwards, a particular style of Renaissance art and architecture developed (think vaulted ceilings, pointed arches and elaborate, imposing facades) that writers attributed to the barbarian tribes that had destroyed the Roman Empire.

In the early 19^th Century the gothic term could be applied to a style of literature – one that had a fascination with death, the supernatural and an element of horror. In the 1970s it began being used to describe Post-Punk music described as ‘Gothic-Rock’. The style of dress associated with this movement drew upon historical aesthetics, with elements of Victorian styling and a black colour palette proving an enduring and somewhat theatrical signature look.

Original Goth culture spanned a multitude of subculture groups, typically coinciding with the cohesive force of musical genres such as ‘Alternative’, ‘Punk’, ‘Darkwave’, ‘Deathrock’ and several others. Typifying the aesthetic in pop culture terms, figures such as the Cure’s wild-haired, eyeliner-wearing frontman Robert Smith paved the way for artists such as Marilyn Manson and Evanescence’s Amy Lee to personify Gothic styling with the signature elements of pale skin, black hair and deep purple, red or black make-up.

As is to be expected, filtering through to street style culture, the look has come to stand as a stereotype for certain fixed beliefs and perceptions. In choosing to dress in such a way, as is true in the realms of any clique fashion that differs from the current norm, the notion that this choice is part of some form of societal rebellion has stuck – whether rightly or wrongly. Ironically, in initially refusing to obey mainstream trends and instead choosing to follow a cult, underground movement, Gothic styling has become an established trend in itself – and many would argue, just as mainstream as any other.

Away from the streets and onto the catwalks, the ‘Goth’ has proved an enduring muse for many designers. The recent Spring/Summer 2012 collections (and indeed, many seasons as far back as I can remember) featured dark, brooding colour palettes, velvet, lace and Gothic silhouettes re-imagined and re-interpreted from a long-standing pool of inspiration. Designers such as Lanvin and John Rocha to name but two, added gothic twists to their collections, with Lanvin’s SS12 aesthetic seeming to draw upon vampire-esque influences. Embellishments and details such as heavy crucifixes, buckles, angel-wing pendants and chokers brought a Gothic edge with familiar religious iconography undertones. John Rocha’s collection referenced the textures of the ‘New Romantic’ Goth wardrobe, with heavy drapes, ruffles, lace and crochet toughened up with elaborate, horn-like headgear.

What becomes clear in collections such as the above, is the scope for beauty in a tradition typically associated with a dark, and often somewhat intimidating aesthetic. Despite the array of associations with, and definitions of the term ‘Goth’, it is a term that nonetheless continues to inspire despite its longstanding history. Whether its listening to a particular genre of music, wearing heavy eyeliner and dark lips or designing a collection inspired by the trend, Gothic styling infiltrates fashion choices on so many levels.