A debate on Kate Moss stirs strange passions. Young women either love or, a few conservative detractors, hate her. British ‘Vogue’ in May is ecstatic over the continuing success of our British Fashion models, whether from the landed gentry or the street.
Moss, featured on the cover, is placed with other contemporary model successes and the long-running story of the Brits as a ‘punk nation!’
Writer Chloe Fox says, “we’re constantly challenging notions of beauty. Kate Phelan, the stylist and ‘Vogue’ contributing editor believes, “Our cultural heritage is hugely influential. We constantly challenge the norm and the fashion industry wants to harness that spirit.”
Kate Moss has hit the zeitgeist over decades, a heroin waif in the eighties, the face of London in the 1990s, high street sensation Topshop, and currently for Kering’s wild boy, Alexander McQueen.
A Business of Fashion story which is really a best kept secret is how the international Fashion industry has come to rely on her neat body, outsider ID and perpendicular cheek bones.
She has been modelling for the rising Italian star Liu.Jo since 2011, from when its already stratospheric success has continued, doubling its number of employees worldwide each year. With La Moss as their ‘face’ they sell across the classes, from city department stores and on-line, to Europe, the far and near East and Russia.
Celebrating the Italian Fashion show opening at the V&A, this week, Colin McDowell, making the important point that it’s really all about the fabrics and the clothes, puts Italian Fashion’s centuries long success down to its heritage and pride-in-making.
A curious anomaly could be that it’s a British teenage rebel performer who is now at the heart of its continuing fascino.
First published in ‘What Would Roland Barthes say?”