The word cult is a complex term, at large it refers to a group whose beliefs or practices are considered abnormal or bizarre; it is rooted in religion and the occult. It relates to movements that have their origins in the underground. It creates a philosophy that can define nations. It is the word commonly anointed to anything popular outside of the commercial mainstream.
Fashion has always been a fervent celebrator of the outsider and acts as an essential tool of social documentation, so naturally it seems fitting that fashion, much like our society, has an obsession with all that is deemed ‘cult’. Religion, essentially is cult. Even Christianity, the favoured faith that all fashion houses seem to reference at least once in their lifetime, began its humble origins as a cult. Riccardo Tisci, a designer marked by his religious southern Italian upbringing, is probably the contemporary designer best exploring this; correlating the two to create spectacles of fashion worship. This higher power has weighed heavily on Tisci’s menswear colour palette, with Givenchy AW 2010 in particular dedicated to a meditation upon his Catholicism. Fittingly, hair veered from Jesus styles to imprisoned buzz-cuts and faces were marked by a haunted glow.
It is the processions, the symbolism, the ritualistic nature and the suffering that draws so many designers to religion. Versace AW96, memorably, inadvertently touched on iconography when Naomi hovered in the centre of the catwalk as Gianni’s typical Olympian God-men swarmed her. For SS12 Agi & Sam brought colour to the religious equation exploring the Mexican ‘Day of the Dead’, examining its vibrancy and focus on youth. Reflecting the demographic that predominately engages in this holiday, heads were adorned with straw hats and the occasional beard was present. Back in SS07 Thom Browne took on the sacrament of baptism, observing it in an institutionalised thriller fashion. Young boys with 1950′s style side partings dressed uniformly, with cherubic faces, suits reminiscent of Baptist missionaries and armbands that lent themselves to right-wing nationalism. Meadham Kirchhoff, Calum Harvey and Rochambeau ventured back to pilgrim times for AW11 and SS12 respectively, adopting an Amish approach to dress. Wide-brimmed hats were paired with sullen faces at Calum Harvey and Rochambeau, while Meadham Kirchhoff opted for tousled hair, with eyes hidden behind Ray-Ban wayfarers, giving the look a bionic feel.
Things really get interesting though, when the concept of the cult icon and religion meld as Jean Paul Gaultier most eloquently and explicitly illustrated in AW93. Hasidic tradition met The Rocky Horror Show. Payots dangled and shtreimel and yarmulkes sat upon heads, while whited faces received touches of blush and hints of eye-shadow. Thom Browne continued this love affair with the cult icon for SS12, focusing on cabaret. Centre-parted hair was combed and slicked to the head, with metallic skull caps, lampshades and mini Chaplin bowlers added for decoration. Eyes were given smokey touches and lips were stained. This is something Vivienne Westwood also dabbled in for AW11, channelling Josephine Baker through her male specimens. Deep waves and a vampish red lip were the grooming prerequisites.
The cult of Nationalism makes an appearance season after season. This can be seen in the consistent militant references and the position of utility as a wardrobe staple. Alexandre Plokhov illustrated this look for SS12 with garrison caps and army-approved hair. Esther Perbandt took this aesthetic in a Brave New World direction for SS12, analysing the shirt with scientific precision. Demonstrating factory order Raf Simons AW08 made you see double as pairs of models wore identical designs, which were minor variants of each other. Hair was coordinated as models mirrored each other’s cuts. Tim Soar AW11 adhered to this ethos but preferred to allow grooming remain anonymous. One of the most striking visuals of this concept occurred in SS10 with Moncler Gamme Bleu’s presentation which conjured up images of the Nuremberg rallies in its order and procession. It was an acute interpretation of Cold War, Olympic displays of nationalism.
Considering how the Olympics’ descent on London is looming, SS12 offered Vivienne Westwood a chance to comment. Slicked back, pool-ready hair was surrounded by Olympic crown laurels in places. Visages were bronzed and chiselled, nodding to the ancient Greeks. The notion of the ‘cult’ look is all around us. As a concept it widely varies. It is refined and ordered or theatrical and eccentric. It offers both planes for great experimentation and acts as a safety net in the grooming field.
